Mater Misericordiae-Mother of Mercy-emerged as one of the most prolific subjects in central Italian art from the late thirteenth through the sixteenth centuries. With iconographic origins in Marian cult relics brought from Palestine to Constantinople in the fifth century, the amalgam of attributes coalesced in Armenian Cilicia then morphed as it spread to Cyprus. An early concept of Mary of Mercy-the Virgin standing with outstretched arms and a wide mantle under which kneel or stand devotees-entered the Italian peninsula at the ports of Bari and Venice during the Crusades, eventually converging in central Italy. The mendicant orders adopted the image as an easily recognizable symbol for mercy and aided in its diffusion. In this study, the author's primary goals are to explore the iconographic origins of the Madonna della Misericordia as a devotional image by identifying and analyzing key attributes; to consider circumstances for its eventual overlapping function as a secular symbol used by lay confraternities; and to discuss its diaspora throughout the Italian peninsula, Western Europe, and eastward into Russia and Ukraine. With over 100 illustrations, the book presents an array of works of art as examples, including altarpieces, frescoes, oil paintings, manuscript illuminations, metallurgy, glazed terracotta, stained glass, architectural relief sculpture, and processional banners.

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.

In The Legend of Veronica in Early Modern Art, Katherine T. Brown explores the lore of the apocryphal character of Veronica and the history of the "true image" relic as factors in the Franciscans' placement of her character into the Via Crucis (Way of the Cross) as the Sixth Station, in both Jerusalem and Western Europe, around the turn of the fifteenth century. Katherine T. Brown examines how the Franciscans adopted and adapted the legend of Veronica to meet their own evangelical goals by intervening in the fabric of Jerusalem to incorporate her narrative which is not found in the Gospels into an urban path constructed for pilgrims, as well as in similar participatory installations in churchyards and naves across Western Europe. This book proposes plausible reasons for the subsequent proliferation of works of art depicting Veronica, both within and independent of the Stations of the Cross, from the early fifteenth through the mid-seventeenth centuries. This book will be of interest to scholars in art history, theology, and medieval and Renaissance studies.

The 23 chapters in this volume explore the material culture of sanctity in Latin Europe and the Mediterranean between c. 1000 and c. 1220, with a focus on the ways in which saints and relics were enshrined, celebrated, and displayed. Reliquary cults were particularly important during the Romanesque period, both as a means of affirming or promoting identity and as a conduit for the divine. This book covers the geography of sainthood, the development of spaces for reliquary display, the distribution of saints across cities, the use of reliquaries to draw attention to the attributes, and the virtues or miracle-working character of particular saints. Individual essays range from case studies on Verona, Hildesheim, Trondheim and Limoges, the mausoleum of Lazarus at Autun, and the patronage of Mathilda of Canossa, to reflections on local pilgrimage, the deployment of saints as physical protectors, the use of imagery where possession of a saint was disputed, island sanctuaries, and the role of Templars and Hospitallers in the promotion of relics from the Holy Land. This book will serve historians and archaeologists studying the Romanesque period, and those interested in material culture and religious practice in Latin Europe and the Mediterranean c.1000-c.1220.

A vibrant critical exchange between contemporary art and Christianity is being increasingly prompted by an expanding programme of art installations and commissions for ecclesiastical spaces. Rather than 'religious art' reflecting Christian ideology, current practices frequently initiate projects that question the values and traditions of the host space, or present objects and events that challenge its visual conventions. In the light of these developments, this book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's role within the church? Focusing on concepts drawn from anthropology, comparative religion, art theory, theology and philosophy, this book formulates a lexicon of terms built around the notion of encounter in order to review the effective uses and experience of contemporary art in churches. The author concludes with the prognosis that art for the church has reached a critical and decisive phase in its history, testing the assumption that contemporary art should be a taken-for-granted element of modern church life. Art and the Church: A Fractious Embrace uniquely combines conceptual analysis, critical case studies and practical application in a rigorous and inventive manner, dealing specifically with contemporary art of the past twenty-five years, and the most recent developments in the church's policies for the arts.

This innovative book aims to create a 'poetics of Church' and a 'religious imaginary' as alternatives to more institutional and conventional ways of thinking and of being 'Church'. Structured as a spiritual and literary journey, the work moves from models of the institutional Catholic Church into more radical and ambiguous textual spaces, which the author creates by bringing together an unorthodox group of thinkers referred to as 'poet-companions': the 16th-century founder of the Society of Jesus, Ignatius of Loyola, the French thinkers Gaston Bachelard and Helene Cixous, the French poet Yves Bonnefoy, and the English playwright Dennis Potter. Inspired especially by the reading and writing practices of Cixous, the author attempts to exemplify Cixous' notion of ecriture feminine-'feminine writing'-that suggests new ways of seeing and relating. The project's uniting of Ignatian spirituality with postmodern thinking and its concern with creating new theological, literary and spiritual spaces for women both coincide and contrast with Pope Francis's pastoral and reformist tendencies, which have neglected to adequately address the marginalisation of women in the Church. As Francis has called for 'a theology of women', of which there are, of course, many to draw from, this volume will be a timely contribution with a unique interdisciplinary approach.

The conversation, sometimes heated, about the influence of Christianity on the writings of J.R.R. Tolkien has a long history. What has been lacking is a forum for a civilized discussion about the topic, as well as a chronological overview of the major arguments and themes that have engaged scholars about the impact of Christianity on Tolkien's oeuvre, with particular reference to The Lord of the Rings. The Ring and the Cross addresses these two needs through an articulate and authoritative analyses of Tolkien's Roman Catholicism and the role it plays in understanding his writings. The volume's contributors deftly explain the kinds of interpretations put forward and evidence marshaled when arguing for or against religious influence. The Ring and the Cross invites readers to draw their own conclusions about a subject that has fascinated Tolkien enthusiasts since the publication of his masterpiece, The Lord of the Rings.

The Jewish Museum Frankfurt presents The Female Side of God, based on numerous objects from cultural history and contemporary works of art. In a close reading of these works, the exhibition catalogue introduces this hardly known and oftentimes even 'suppressed tradition'. Comprehensible descriptions of these visual representations of a female deity, which can be found throughout the centuries, alternate with five essays, resulting from an interdisciplinary symposium of the research association 'Religious Positionings'. A highly topical publication, comprising faith, science, and art. Text in English and German.

Emile Male's book aids understanding of medieval art and medieval symbolism, and of the vision of the world which presided over the building of the French cathedrals. It looks at French religious art in the Middle Ages, its forms, and especially the Eastern sources of sculptural iconography used in the cathedrals of France. Fully illustrated with many footnotes it acts as a useful guide for the student of Western culture.

The images released by Islamic State of militants smashing statues at ancient sites were a horrifying aspect of their advance across Northern Iraq and Syria during 2015-16. Their leaders justified this iconoclasm (destruction of images) by arguing that such actions were divinely decreed in Islam, a notion that has remained fixed in the public consciousness. The Image Debate: Figural Representation in Islam and Across the World is a collection of thirteen essays which examine the controversy surrounding the use of images in Islamic and other religious cultures and seek to redress some of the misunderstandings that have arisen. Written by leading academics from the United States, Australia, Turkey, Israel and the United Kingdom, the book has a foreword by Stefano Carboni, Director of the Art Gallery of Western Australia, followed by an introduction by the editor Christiane Gruber, who sets the subject in context with a detailed examination of the debates over idols and the production of figural images in Islamic traditions. Twelve further articles are divided into three sections: the first deals with pre-modern Islam: Mika Natif looks at tensions between the Hadith prohibition on images and the praxis of image-making under the Umayyad dynasty and argues that the Umayyad rulers used imagery to establish their political and religious authority; Finbarr Barry Flood examines the practice of epigraphic erasure, i.e., the removal of names of rulers and patrons from historical inscriptions from the medieval Islamic world; and Oya Pancaroglu focuses on the figural conventions of an illustrated manuscript of Varqa and Gulshah, a medieval Persian romance composed in the masnavi (rhyming couplet) form by the 11th-century poet `Ayyuqi. The second section addresses the situation outside Islam: Alicia Walker surveys attitudes toward the production and veneration of religious images in Byzantium from the earliest years of the Christian Roman Empire (early 4th century) to the aftermath of the Iconoclast controversy (late 9th century); Steven Fine explores the history of Jewish engagement with `art' from Roman antiquity through the high middle ages through a detailed exploration of the 3rd-century Dura Europos synagogue and its wall paintings; Michael Shenkar examines evidence for the employment of figural images in the cultic practices of some of the major ancient Iranian cultural and political entities, offering a broad perspective on perceptions of images in ancient Iranian worship; and Robert DeCaroli delves into the question of why no image of the Buddha was made during the first five hundred years of Buddhism. The third section brings the reader back to Islamic lands with five articles examining aspects of the issue in the modern and contemporary periods: Yousuf Saaed investigates South Asian mass-produced images, especially posters that include illustrations of local Sufi shrines, portraits of saints and Shi`i iconography; James Bennett explores the visual depiction of Javanese shadow puppets (wayang kulit), including the sage Begawan Abiyasa, whose narratives convey key elements of Sufi mystical philosophy; Allen and Mary Roberts consider images of Cheikh Amadu Bamba, the founding Sufi saint of the Senegalese Mouride order; Rose Issa addresses how the term `Islamic' relates to contemporary art, how artists manage to create work in countries in constant turmoil and to what extent such works reflect their conceptual, aesthetic, and socio-political concerns; and finally Shiva Balaghi traces the use of the figure, along its symbolic shadows and silhouettes, in works by notable Iranian artists living in Iran and in diaspora.

Less than a year after the end of authoritarian rule in 1998, huge images of Jesus Christ and other Christian scenes proliferated on walls and billboards around a provincial town in eastern Indonesia where conflict had arisen between Muslims and Christians. A manifestation of the extreme perception that emerged amid uncertainty and the challenge to seeing brought on by urban warfare, the street paintings erected by Protestant motorbike-taxi drivers signaled a radical departure from the aniconic tradition of the old colonial church, a desire to be seen and recognized by political authorities from Jakarta to the UN and European Union, an aim to reinstate the Christian look of a city in the face of the country's widespread islamicization, and an opening to a more intimate relationship to the divine through the bringing-into-vision of the Christian god. Stridently assertive, these affectively charged mediations of religion, masculinity, Christian privilege and subjectivity are among the myriad ephemera of war, from rumors, graffiti, incendiary pamphlets, and Video CDs, to Peace Provocateur text-messages and children's reconciliation drawings. Orphaned Landscapes theorizes the production of monumental street art and other visual media as part of a wider work on appearance in which ordinary people, wittingly or unwittingly, refigure the aesthetic forms and sensory environment of their urban surroundings. The book offers a rich, nuanced account of a place in crisis, while also showing how the work on appearance, far from epiphenomenal, is inherent to sociopolitical change. Whether considering the emergence and disappearance of street art or the atmospherics and fog of war, Spyer demonstrates the importance of an attunement to elusive, ephemeral phenomena for their palpable and varying effects in the world. Orphaned Landscapes: Violence, Visuality, and Appearance in Indonesia is available from the publisher on an open-access basis.

In this beautifully illustrated book, eminent art historian John Rosenfield explores the life and art of the Japanese Buddhist monk Hozan Tankai (1629-1716). Through a close examination of sculptures, paintings, ritual implements, and primary documents, the book demonstrates how the Shingon prelate's artistic activities were central to his important place in the world of late-seventeenth-century Japanese Buddhism. At the same time, the book shows the richness of early modern Japanese Buddhist art, which has often been neglected and undervalued.

Tankai was firmly committed to the spiritual disciplines of mountain Buddhism--seclusion, severe asceticism, meditation, and ritual. But in the 1680s, after being appointed head of a small, run-down temple on the slopes of Mount Ikoma, near Nara, he revealed that he was also a gifted artist and administrator. He embarked on an ambitious campaign of constructing temple halls and commissioning icons, and the Ikoma temple, soon renamed H?zanji, became a vibrant center of popular Buddhism, as it remains today. He was a remarkably productive artist, and by the end of his life more than 150 works were associated with him.

A major reconsideration of a key artistic and religious figure, "Preserving the Dharma" brings much-needed attention to an overlooked period of Japanese Buddhist art.

The series is devoted to Christian texts from the Greek-speaking parts of the ancient Roman Empire. Published since 1897 (first in Leipzig, then in Berlin) by the Royal Prussian Academy under the project Griechische Christliche Schriftsteller, which was continued by the Berlin-Brandenburg Academy, the series offers large critical editions accompanied by historical introductions and indices of those works that have not been included in other major editions. When complete, the series will provide complete coverage of the first three centuries.

From the visual and textual art of Anglo-Saxon England onwards, images held a surprising power in the Western Christian tradition. Not only did these artistic representations provide images through which to find God, they also held mystical potential, and likewise mystical writing, from the early medieval period onwards, is also filled with images of God that likewise refracts and reflects His glory. This collection of essays introduces the currents of thought and practice that underpin this artistic engagement with Western Christian mysticism, and explores the continued link between art and theology. The book features contributions from an international panel of leading academics, and is divided into four sections. The first section offers theoretical and philosophical considerations of mystical aesthetics and the interplay between mysticism and art. The final three sections investigate this interplay between the arts and mysticism from three key vantage points. The purpose of the volume is to explore this rarely considered yet crucial interface between art and mysticism. It is therefore an important and illuminating collection of scholarship that will appeal to scholars of theology and Christian mysticism as much as those who study literature, the arts and art history.

Think of your local church. Without art--music, song, dance, etc.--it would be a much poorer place. But if protestants have any vision for the arts, it tends to be a thin one. This unique book is an attempt to contribute to a robust, expansive vision for the church and the arts. Its specific aim is to show how the many parts of the landscape of church and art hold together. You can think of it as a kind of helicopter flyover, but one with expert pilots. The guides include the likes of Eugene Peterson, Lauren Winner, Jeremy Begbie, Andy Crouch, and John Witvliet, helping to inspire readers and empower pastor-leaders with a vision of the church and the arts that is compelling, far-seeing, and profoundly transformative.

Despite the large number of monumental Last Supper frescoes which adorn refectories in Quattrocento Florence, until now no monograph has appeared in English on the Florentine Last Supper frescoes, nor has any study examined the perceptions of the original viewers. This study examines the rarely considered effect of gender on the profoundly contextualized perceptions of the male and female religious who viewed the Florentine Last Supper images in surprisingly different physical and cultural refectory environments. In addition to offering detailed visual analyses, the author draws on a broad spectrum of published and unpublished primary materials, including monastic rules, devotional tracts and reading materials, the constitutions and ordinazioni for individual houses, inventories from male and female communities and the Convent Suppression documents of the Archivio di Stato in Florence. By examining the original viewers' attitudes to images, their educational status, acculturated pieties, affective responses, levels of community, degrees of reclusion, and even the types of food eaten in the refectories, Hiller argues that the perceptions of these viewers of the Last Supper frescoes were intrinsically gendered.

This thoroughly updated and comprehensive new edition enhances the well-loved and often-used earlier work as a guide to symbolism in Christian liturgical art, architecture, manuscripts, stained glass, and more.

The new book is more heavily pictorial in an effort to provide an even stronger resource for artists and researchers, as well as the general browsing public. It addresses the rich history of Christian symbolism, presented for the twenty-first century reader.

This unique resource offers page after page of line drawings depicting sacred monograms, saints, crosses, altars, flowers, fruits and trees, plus symbols of the Jewish and Christian Scriptures, the Church Year, the Apostles, the Holy Trinity; and much more. Completely updated and with ecumenical appeal, this useful new reference book expands on its earlier and well-earned reputation for providing clear and reliable information on Christian symbolism.

The articles republished in this volume are ground-breaking studies that employ a large body of religious figural imagery of Byzantine lead seals ranging from the 6th to the 15th century. A number of the studies present tables, charts and graphs in their analysis of iconographic trends and changing popularity of saintly figures over time. And since many of the seals bear inscriptions that include the names, titles or offices of their owners, information often not given for the patrons of sacred images in other media, these diminutive objects permit an investigation into the social use of sacred imagery through the various sectors of Byzantine culture: the civil, ecclesiastical and military administrations. The religious figural imagery of the lead seals, accompanied by their owners' identifying inscriptions, offers a means of investigating both the broader visual piety of the Byzantine world and the intimate realm of their owners' personal devotions. Other studies in this volume are devoted to rare or previously unknown sacred images that demonstrate the value of the iconography of Byzantine lead seals for Byzantine studies in general. This volume includes studies dedicated to the image of Christ, primarily found on imperial seals, various images of the Virgin, and narrative or Christological scenes. A companion volume presents various articles focusing on sphragistic images of saints and on the religious imagery of Byzantine seals as a means of investigating the personal piety of seal owners, as well as the wider realm of the visual piety and religious devotions of Byzantine culture at all levels. (CS1085)