From the earliest period of its existence, Christianity has been recognized as the "religion of the cross." Some of the great monuments of Western art are representations of the brutal torture and execution of Christ. Despite the horror of crucifixion, we often find such images beautiful. The beauty of the cross expresses the central paradox of Christian faith: the cross of Christ's execution is the symbol of God's victory over death and sin. The cross as an aesthetic object and as a means of devotion corresponds to the mystery of God's wisdom and power manifest in suffering and apparent failure. In this volume, Richard Viladesau seeks to understand the beauty of the cross as it developed in both theology and art from their beginnings until the eve of the renaissance. He argues that art and symbolism functioned as an alternative strand of theological expression -- sometimes parallel to, sometimes interwoven with, and sometimes in tension with formal theological reflection on the meaning of the Crucifixion and its role in salvation history. Using specific works of art to epitomize particular artistic and theological paradigms, Viladesau then explores the contours of each paradigm through the works of representative theologians as well as liturgical, poetic, artistic, and musical sources. The beauty of the cross is examined from Patristic theology and the earliest representations of the Logos on the cross, to the monastic theology of victory and the Romanesque crucified "majesty," to the Anselmian "revolution" that centered theological and artistic attention on the suffering humanity of Jesus, and finally to the breakdown of the high scholastic theology of the redemption in empiricallyconcentrated nominalism and the beginnings of naturalism in art. By examining the relationship between aesthetic and conceptual theology, Viladesau deepens our understanding of the foremost symbol of Christianity. This volume makes an important contribution to an emerging field, breaking new ground in theological aesthetics. The Beauty of the Cross is a valuable resource for scholars, students, and anyone interested in the passion of Christ and its representation.

ECPA Top Shelf Book Cover Award Our written words carry weight. Unfortunately, in today's cultural climate, our writing is too often laced with harsh judgments and vitriol rather than careful consideration and generosity. But might the Christian faith transform how we approach the task of writing? How might we love God and our neighbors through our writing? This book is not a style guide that teaches you where to place the comma and how to cite your sources (as important as those things are). Rather, it offers a vision for expressing one's faith through writing and for understanding writing itself as a spiritual practice that cultivates virtue. Under the guidance of two experienced Christian writers who draw on authors and artists throughout the church's history, we learn how we might embrace writing as an act of discipleship for today-and how we might faithfully bear the weight of our written words.

A record of material and spiritual gifts to churches, compiled from 3000 wills made over 180 years. Reads like a medieval detective story. A splendid book... should be treated as a companion volume to The Stripping of the Altars. JULIAN LITTEN, CHURCH TIMES In the late medieval churches of the former deanery of Dunwich there are many features which were provided by testamentary gifts; this study of three thousand wills from fifty-two Suffolk parishes, written between 1370 and 1547, records such material and spiritual bequests. Many purchased prayer (the prayers of the poor being particularly sought), vital for the swift passage of the soul through Purgatory; other testators left instructions for the acquisition of liturgical books, church plate and embroideredvestments. Gifts and outright donations also provided stained glass, seven-sacrament fonts and rood-screens which have survived. The wills give no hint of the destruction that was to come - a medieval chancel with vacant niches and whitewashed walls says more than the wills are prepared to tell - but the pennies and shillings which had helped towards building expenses in this coastal district of East Anglia produced at least two of the finest parish churches in the country within a few decades of the Reformation. The late JUDITH MIDDLETON-STEWART was a tutor for the Board of Continuing Education for the universities of Cambridge and East Anglia.

A new generation of American medieval art historians explores how sacred images were perceived during the Middle Ages in Byzantium and Europe. Focusing on the relationship between a particular type of medieval art - the sacred image - and its audience, the contributors consider the part played in this relationship by the image's context, whether on the page of a book or on the wall of a building. The book allows the reader to see the fluidity of the sacred image, showing how factors including audience, purpose, and setting affected the form it took. The essays cover a full range of images, including panel paintings, altarpieces, manuscripts, and wall paintings, and a rich variety of socioreligious settings, private, monastic, and imperial. Also examined are the differences between images produced for a single viewer and those produced for communities; images produced for private contemplation or devotion and those that functioned within a liturgical setting; and the varying ways in which sacred images affected women and men, religious and secular communities, rulers and the ruled.

A richly illustrated examination of food in the Bible, concentrating on the social aspects of eating. Why do we think it was an apple that Eve offered to Adam? In fact the Bible tells us nothing of the kind, yet apples figure in the illustrations. Out of literally hundreds of meals mentioned in the Bible, only relatively fewwere ever illustrated. This book discusses the most frequently illustrated scenes, covering the thirteen centuries from Roman catacomb paintings and sarcophagus reliefs to Rembrandt and Poussin. Many of the subjects discussed willbe widely familiar, others, such as the meals of Ruth and of the Parables, perhaps less so. Close attention is paid to the biblical text and its coverage in the illustrations. In rare instances the images have no source in the text. The popular scene of Joseph cooking for the infant Jesus, for example, is never mentioned. It is known only from biblical commentaries and from the extant illustrations. The book contains some 160 colour images illustrating the twenty-two meals discussed. It will provide food for thought for readers interested in the study of the Bible and biblical commentaries, the history of meals and food, and the history of art. C.M. KAUFFMANN was Keeper of Prints & Drawings and Paintings at the Victoria and Albert Museum and then Director of the Courtauld Institute and Professor of the History of Art, University of London. Among his publications are catalogues of paintingsat the V & A and the Wellington Museum and also books and articles on medieval art, including Romanesque Manuscripts (1066-1190) and Biblical Imagery in Medieval England 700-1550.

Art as Biblical Commentary is not just about biblical art but, more importantly, about biblical exegesis and the contributions visual criticism as an exegetical tool can make to biblical exegesis and commentary. Using a range of texts and numerous images, J. Cheryl Exum asks what works of art can teach us about the biblical text. 'Visual criticism' is her term for an approach that addresses this question by focusing on the narrativity of images-reading them as if, like texts, they have a story to tell-and asking what light an image's 'story' can shed on the biblical narrator's story. In Part I, Exum elaborates on her approach and offers a personal testimony to the value of visual criticism. Part 2 examines in detail the story of Hagar in Genesis 16 and 21. Part 3 contains chapters on erotic looking and voyeuristic gazing in the stories of Bathsheba, Susanna, Joseph and Potiphar's wife and the Song of Songs; on the distribution of renown among Jael, Deborah and Barak; on the Bible's notorious women, Eve and Delilah; and on the sacrificed female body in the stories of the Levite's wife (Judges 19) and Mary the mother of Jesus.

Available for the first time in one deluxe slipcased hardcover edition, an anthology of all eight volumes of the C. S. Lewis Signature Classics.

This magnificent compendium, ideal for gift giving, includes:

• Mere Christianity
• The Screwtape Letters
• The Great Divorce
• The Problem of Pain
• Miracles
• A Grief Observed
• Abolition of Man
• The Four Loves

We are, each one of us, situated in a particular place. As embodied creatures, as members of local communities and churches, as people who live in a specific location in the world, we all experience the importance of place. But what role does place play in the Christian life and how might our theology of place be cultivated? In this Studies in Theology and the Arts volume, Jennifer Allen Craft argues that the arts are a significant form of placemaking in the Christian life. The arts, she contends, place us in time, space, and community in ways that encourage us to be fully and imaginatively present in a variety of contexts: the natural world, our homes, our worshiping communities, and society. In so doing, the arts call us to pay attention to the world around us and invite us to engage in responsible practices in those places. Through this practical theology of the arts, Craft shows how the arts can help us by cultivating our theological imagination, giving shape to the Christian life, and forming us more and more into the image of Christ. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

David Moessner proposes a new understanding of the relation of Luke's second volume to his Gospel to open up a whole new reading of Luke's foundational contribution to the New Testament. For postmodern readers who find Acts a 'generic outlier,' dangling tenuously somewhere between the 'mainland' of the evangelists and the 'Peloponnese' of Paul-diffused and confused and shunted to the backwaters of the New Testament by these signature corpora-Moessner plunges his readers into the hermeneutical atmosphere of Greek narrative poetics and elaboration of multi-volume works to inhale the rhetorical swells that animate Luke's first readers in their engagement of his narrative. In this collection of twelve of his essays, re-contextualized and re-organized into five major topical movements, Moessner showcases multiple Hellenistic texts and rhetorical tropes to spotlight the various signals Luke provides his readers of the multiple ways his Acts will follow "all that Jesus began to do and to teach" (Acts 1:1) and, consequently, bring coherence to this dominant block of the New Testament that has long been split apart. By collapsing the world of Jesus into the words and deeds of his followers, Luke re-configures the significance of Israel's "Christ" and the "Reign" of Israel's God for all peoples and places to create a new account of 'Gospel Acts,' discrete and distinctively different than the "narrative" of the "many" (Luke 1:1). Luke the Historian of Israel's Legacy combines what no analysis of the Lukan writings has previously accomplished, integrating seamlessly two 'generically-estranged' volumes into one new whole from the intent of the one composer. For Luke is the Hellenistic historian and simultaneously 'biblical' theologian who arranges the one "plan of God" read from the script of the Jewish scriptures-parts and whole, severally and together-as the saving 'script' for the whole world through Israel's suffering and raised up "Christ," Jesus of Nazareth. In the introductions to each major theme of the essays, this noted scholar of the Lukan writings offers an epitome of the main features of Luke's theological 'thought,' and, in a final Conclusions chapter, weaves together a comprehensive synthesis of this new reading of the whole.

This book employs a new approach to the art of sixteenth-century Europe by incorporating rhetoric and theory to enable a reinterpretation of elements of Mannerism as being grounded in sixteenth-century spirituality. Lynette M. F. Bosch examines the conceptual vocabulary found in sixteenth-century treatises on art from Giorgio Vasari to Federico Zuccari, which analyses how language and spirituality complement the visual styles of Mannerism. By exploring the way in which writers from Leone Ebreo to Gabriele Paleotti describe the interaction between art and spirituality, Bosch establishes a religious base for the language of art in sixteenth-century Europe. The book will be of interest to scholars working in art history, Renaissance studies, religious studies, and religious history.

The book investigates the aesthetic theology embedded in the Franciscan artistic tradition. The novelty of the approach is in applying concepts gleaned from Franciscan textual sources to create a deeper understanding of how art in all its sensual forms was foundational to the Franciscan milieu. Chapters range from studies of statements about aesthetics and the arts in theological textual sources to examples of visual, auditory, and tactile arts communicating theological ideas found in texts. The essays cover not only European art and textual sources, but also Franciscan influences in the Americas found in both texts and artifacts.

In The Persephones, American poet Nathaniel Tarn (born 1928) and American photographer Joan Myers (born 1941) offer an elegant, collaborative retelling of Persephone's abduction into the underworld. Many of Myers' images were shot at the sites from which the myth originated. Edition of 500 copies.

A Magnificent Faith explains how and why Lutheranism - a confession that derived its significance from the promulgation of God's Word - became a visually magnificent faith, a faith whose adherents sought to captivate Christians' hearts and minds through seeing as well as through hearing. Although Protestantism is no longer understood as an exclusively word-based religion, the paradigm of evangelical ambivalence towards images retains its power. This is the first study to offer an account of the Reformation origins and subsequent flourishing of the Lutheran baroque, of the rich visual culture that developed in parts of the Holy Roman Empire during the later seventeenth and early eighteenth centuries. The volume opens with a discussion of the legacy of the Wittenberg Reformation. Three sections then focus on the confessional, devotional, and magnificent image, exploring turning points in Lutherans' attitudes towards religious art. Drawing on a wide variety of archival, printed, and visual sources from two of the Empire's most important Protestant territories - Saxony, the heartland of the Reformation, and Brandenburg - A Magnificent Faith shows the extent to which Lutheran culture was shaped by territorial divisions. It traces the development of a theologically-grounded aesthetic, and argues that images became prominent vehicles for the articulation of Lutheran identity not only amongst theologians but also amongst laymen and women. By examining the role of images in the Lutheran tradition as it developed over the course of two centuries, A Magnificent Faith offers a new understanding of the relationship between Protestantism and the visual arts.

In Touching the Passion - Seeing Late Medieval Altarpieces through the Eyes of Faith, Donna Sadler explores the manner in which worshipers responded to the carved and polychromed retables adorning the altars of their parish churches. Framed by the symbolic death of Christ re-enacted during the Mass, the historical account of the Passion on the retable situated Christ's suffering and triumph over death in the present. The dramatic gestures, contemporary garb, and wealth of anecdotal detail on the altarpiece, invited the viewer's absorption in the narrative. As in the Imitatio Christi, the worshiper imaginatively projected himself into the story like a child before a dollhouse. The five senses, the sculptural medium, the small scale, and the rhetoric of memory foster this immersion.

The church and the contemporary art world often find themselves in an uneasy relationship in which misunderstanding and mistrust abound. On one hand, the leaders of local congregations, seminaries, and other Christian ministries often don't know what to make of works by contemporary artists. Not only are these artists mostly unknown to church leaders, they and their work often lead them to regard the world of contemporary art with indifference, frustration, or even disdain. On the other hand, many artists lack any meaningful experience with the contemporary church and are mostly ignorant of its mission. Not infrequently, these artists regard religion as irrelevant to their work, are disinclined to trust the church and its leaders, and have experienced personal rejection from these communities. In response to this situation, the 2015 biennial conference of Christians in the Visual Arts (CIVA) facilitated a conversation between these two worlds. This volume gathers together essays and reflections by artists, theologians, and church leaders as they sought to explore misperceptions, create a hospitable space to learn from each other, and imagine the possibility of a renewed and mutually fruitful relationship. Contemporary Art and the Church seeks common ground for the common good of both the church and the contemporary art world. The Studies in Theology and the Arts series encourages Christians to thoughtfully engage with the relationship between their faith and artistic expression, with contributions from both theologians and artists on a range of artistic media including visual art, music, poetry, literature, film, and more.

In 1646, on a panel fewer than nine inches wide, Rembrandt van Rijn (1606-1669) produced one of his most captivating images. In private hands and publicly exhibited only a handful of times, this extraordinary painting, Abraham Entertaining the Angels, is among the artist's lesser-known masterpieces and it is the inspiration for Divine Encounter. Rembrandt took an unusual and dramatic approach to Biblical subjects. He made use of the viewer's knowledge of the subject whilst finding ways to bring the familiar to life, a challenge he took on throughout his career. Abraham and the Angels is presented alongside a selection of Rembrandt's treatments of other biblical episodes in which Abraham encounters God and his angels. These are examined as a group, compared with versions by Rembrandt's contemporaries, and considered in relation to theological, philosophical and artistic debates of the period.

Conflict has been an inescapable facet of religion from its very beginnings. This volume offers insight into the mechanisms at play in the centuries from the Jesus-movement's first attempts to define itself over and against Judaism to the beginnings of Islam. Profiling research by scholars of the Centre for Early Christian Studies at Australian Catholic University, the essays document inter- and intra-religious conflict from a variety of angles. Topics relevant to the early centuries range from religious conflict between different parts of the Christian canon, types of conflict, the origins of conflict, strategies for winning, for conflict resolution, and the emergence of a language of conflict. For the fourth to seventh centuries case studies from Asia Minor, Syria, Constantinople, Gaul, Arabia and Egypt are presented. The volume closes with examinations of the Christian and Jewish response to Islam, and of Islam's response to Christianity. Given the political and religious tensions in the world today, this volume is well positioned to find relevance and meaning in societies still grappling with the monotheistic religions of Judaism, Christianity, and Islam.

Saints and Spectacle examines the origins and reception of the Middle Byzantine program of mosaic decoration. This complex and colorful system of images covers the walls and vaults of churches with figures and compositions seen against a dazzling gold ground. The surviving eleventh-century churches with their wall and vault mosaics largely intact, Hosios Loukas, Nea Moni and Daphni in Greece, pose the challenge of how, when and where this complex and gloriously conceived system was created. Using an interdisciplinary approach, Connor explores the urban culture and context of church-building in Constantinople, capital of the Byzantine Empire, during the century following the end of Iconoclasm, of around 843 to 950. The application of an innovative frame of reference, through ritual studies, helps recreate the likely scenario in which the medium of mosaics attained its highest potential, in the mosaiced Byzantine church. For mosaics were enlisted to convey a religious and political message that was too nuanced to be expressed in any other way. At a time of revival of learning and the arts, and development of ceremonial practices, the Byzantine emperor and patriarch were united in creating a solution to the problem of consolidating the Greek Orthodox Byzantine Empire. It was through promoting a vision of the unchallengeable authority residing in God and his earthly representative, the emperor. The beliefs and processional practices affirming the protective role of the saints in which the entire city participated, were critical to the reception of this vision by the populace as well as the court. Mosaics were a luxury medium that was ideally situated aesthetically to convey a message at a particularly important historical moment-a brilliant solution to a problem that was to subtly unite an empire for centuries to come. Supported by a wealth of testimony from literary sources, Saints and Spectacle brings the Middle Byzantine church to life as the witness to a compelling and fascinating drama.

Art collector Anil Relia had always admired the miniature paintings of the Nathdwara school, which grew out of the religious devotation of the Pushti Marg (Path of Grace). On one of his trips to this pilgrimage town, he encountered 'manorath' paintings, whose unusual visual elements attracted his attention immediately. Originally part of the Pushti Marg popular culture, manorath paintings were often commissioned by devout followers as an indelible record of a pilgrimage trip to Nathdwara. Manorath ("mind's vehicle") paintings are a visual representation of the pilgrim's wish to enter into mutual communication with a divine Pushti Marg icon. The popular manoraths in this collection, which employ mixed media and photo-realism techniques, illustrate worshippers in the presence of Shrinathji. These images had a deep emotional resonance for worshippers because they embodied both the corporeal pilgrimage to Nathdwara and also the inner devotional experience itself. As author Isabella Nardi demonstrates, the paintings in this collection are not merely souvenirs of a pilgrimage trip; they represent the worshipper's journey to Nathdwara for a 'darshan' with their beloved and revered deity. With pilgrims as patrons, these manoraths are truly portraits of devotion.

This elegant Bible edition honors the beauty and richness of the New King James Version in a convenient portable size with essential study tools and traditional red-letter text for the Words of Christ. The New King James Version in the Sovereign Collection reflects the legacy and majesty of the King James Version Bible produced more than 400 years ago, but in language updated for today. This beautiful Bible, which contains design flourishes that pay tribute to the Bible produced in 1611, comes in a convenient portable size with essential study tools and traditional red-letter text for the Words of Christ. The Sovereign Collection continues Thomas Nelson's long history and stewardship publishing Bibles, featuring elegant letter illustrations leading into each chapter combined with clear and readable Comfort Print (R), connects you to the legacy of faith, and inspires your time in the Word to be enjoyable and fruitful. Features include: Line-matched classic 2-column format for a comfortable reading experience Book introductions provide a concise overview of the background and historical context of the book about to be read Words of Christ in red help you quickly identify Jesus' teachings and statements Extensive end-of-page cross references allow you to find related passages quickly and easily Translation notes provide a look into the thinking of the translators with alternative translations that could have been used and textual notes about manuscript variations Presentation page to personalize this special gift by recording a memory or a note Concordance for looking up a word's occurrences throughout the Bible Full-color maps show a visual representation of Israel and other biblical locations for better context Two satin ribbon markers for you to easily navigate and keep track of where you were reading Gilded page edges help protect the edge of the page and provide a polished look Durable and flexible Smyth-sewn binding so the Bible will lay flat in your hand or on a desk Easy-to-read 9.5-point NKJV Comfort Print (R)

The Kathmandu Valley is the most populated region of Nepal, and the Newar, probable descendants of the Kirati who settled in the Valley in the first millennium BCE, have for centuries created the art featured in "Celestial Realms." In additiOn to Hindu and Buddhist sculpture and paintings, tribal works from the middle hill region are also included, providing a contrast with Newar production.

Nancy Tingley is an independent scholar whose most recent exhibitions include "Arts of Ancient Viet Nam: From River Plain to Open Sea" at Asia Society, New York, and buddhas at the Crocker Art Museum. Nutandhar Sharma is a freelance cultural historian and publisher of "Amalekh Weekly." He was formerly a member of the Department of Cultural and Religious History of South Asia, University of Heidelberg, Germany.