scholarly journals The depiction of warrior saints in frescoes of 1380 at the church of Our Saviour in Kovaliovo: Whether Balkan masters painted the Novgorod Church?

Zograf ◽  
2009 ◽  
pp. 121-135 ◽  
Author(s):  
Svetlana Dmitrijeva
Keyword(s):  
The Church ◽  
Selection Of ◽  
Fresco Cycle

This article examines the theme of warrior saints in the Kovaliovo fresco cycle, based on the archival photographs and frescoes assembled by the conservators. The analysis of the selection of warrior saints (including the seated figure of St. Demetrios), the arrangement of their figures in the overall iconographic programme, the separate iconographic characteristics of the frescoes and - finally - the style of painting, confirms that the Kovaliovo master-painters were not local nor were they Russian, but it obliges us to reject the theory that the Kovaliovo frescoes resemble the art of the Morava school in Serbia. It is feasible that the Kovaliovo painters came from one of the Balkan centers closely linked to Thessaloniki and within the tradition of Novgorodian monumental painting, the best Kovaliovo frescoes seem to bear the legacy of their great predecessor, Theophanes the Greek.

The Fresco Cycle of Saint Maria Maddalena De’ Pazzi (1566–1607)

2021 ◽  
Vol 25 (4) ◽  
pp. 421-454
Author(s):  
Michal Shalit-Kollender
Keyword(s):  
Counter Reformation ◽  
Santa Maria ◽  
The Church ◽  
Fresco Cycle

Abstract Saint Maria Maddalena de’ Pazzi, a Florentine Carmelite nun and mystic, was recognized as a saint in 1669. After her canonization, a church in Florence was renovated and renamed Santa Maria Maddalena de’ Pazzi, and new artworks were commissioned for it. This article will explore in detail a series of ten frescoes on the top section of the walls in the church, part of the renovation. Although these works are part of the saint’s public iconography and depict major narratives of her cult, they have not been studied in depth to date. Though the scenes have meaning to a general Catholic audience, they appeal to different audiences—the Carmelite nuns, the local Florentine population, and the post-Counter Reformation believer—to differing degrees, the scenes with Jesuit undertones aimed particular at the latter group.

scholarly journals Prophets carrying texts by other authors in Byzantine painting: Mistakes or intentional substitutions?

2007 ◽  
pp. 229-244 ◽  
Author(s):  
Ljubica Popovich
Keyword(s):  
Old Testament ◽  
Standard Practice ◽  
Byzantine Art ◽  
The Church ◽  
Selection Of ◽  
Minor Prophets

Since there are no two identical churches in Byzantine art, consequently there are no two identical iconographic programs. This observation also applies to the representation of prophets in the drums of the domes or in other locations in Byzantine churches. Research dealing with this group of Old Testament figures reveals many variations regarding the planned selection of prophets and choices of the texts that they carry inscribed on their scrolls. This study examines the instances when one of the authors of the prophetic books carries the text by another author. These occurrences are neither frequent nor accidental. Such deviations from standard practice that are explored in this article demonstrate the following: first of all exchanges of text can occur due to the mistake by the artist, as exemplified in the Palace Chapel in Palermo, or by the mistake of the person who inscribed the texts, as in the Chapel of Joachim and Anna in the Monastery Studenica. Secondly, in a number of monuments the text-bearer and the selection of the text by another prophet-author are not accidental. For example, if a number of quotations to be used are chosen from the book by the prophet Isaiah, and he is only represented once, because repetition of the same prophet within a group of Old Testament figures was not practiced, what is to be done? Therefore, other, usually minor, prophets, were selected to hold the scrolls inscribed with the text by other authors, for example Isaiah. Such cases are well documented in the churches of Panagia ton Chalkeon and the Holy Apostles in Thessalonike, and in the church of the Resurrection in Verroia, where the selection of prophets? quotations, usually inspired by the liturgical tradition, furthermore serves to underscore a certain idea of a theological or iconographic nature.

scholarly journals The Frescoes of Saint Bruno of Querfurt in the Monastery of the Camaldolese Order at Pažaislis

2009 ◽  
Vol 14 (1) ◽  
pp. 11-26
Author(s):  
Mindaugas Paknys
Keyword(s):  
Seventeenth Century ◽  
The Church ◽  
Fresco Cycle

This article investigates the story of St Bruno of Querfurt featured in the fresco cycle in the monastery church of Pažaislis at Kaunas, Lithuania. The frescoes were executed by the Italian artist Michelangelo Palloni in the latter half of the seventeenth century. They are to be found in a corridor linking the church with the monastery: eight of them present the story of the saint and three celebrate his apotheosis. The article examines the causes of the circumstances of the appearance of this cycle in the Camaldolese hermitage, the tradition of the veneration of St Bruno in contemporary Poland-Lithuania as well as a detailed iconography of the frescoes.

scholarly journals Polityka władz państwowych wobec wyboru i działalności metropolity Makarego, zwierzchnika Polskiego Autokefalicznego Kościoła Prawosławnego

2015 ◽  
pp. 72-84
Author(s):  
Stefan Dudra
Keyword(s):  
Government Policy ◽  
The State ◽  
Russian Orthodox ◽  
Orthodox Church ◽  
Russian Orthodox Church ◽  
Close Cooperation ◽  
Post War ◽  
The Individual ◽  
The Church ◽  
Selection Of

Government policy towards the election and activity of Metropolitan Macarius (Oksijuk) In post-war Poland, the state authorities aimed at taking control of the religious life of the individual Churches and religious organizations. Surveillance efforts were made to maintain, among others, by appropriate selection of the superior of the Church and diocesan bishops. The election of Macarius (Oksijuk), Archbishop of the Russian Orthodox Church for the position of Metropolitan in July 1951 years should be understood in this context. The hierarch was also to give a guarantee of loyalty, implement his policy in line with the vision of communist authorities and ensure close cooperation with the Patriarchate of Moscow. Unrealized demands of the state authorities (emerging Russification trends, the lack of wider support in missionary activity among the Greek Catholics) contributed to undertake a process of dismissing Macarius from managing the Orthodox Church. Polityka władz państwowych wobec wyboru i działalności metropolity Makarego, zwierzchnika Polskiego Autokefalicznego Kościoła PrawosławnegoPowojenna polityka państwa wobec Polskiego Autokefalicznego Kościoła Prawosławnego zmierzała do ograniczenia jego roli tylko do zadań religijnych, jednocześnie przy objęciu pozostałej działalności całkowitą kontrolą. Nadzór starano się utrzymywać m.in. poprzez odpowiedni dobór zwierzchnika Kościoła. Jednym z elementów polityki był wybór na stanowisko metropolity w 1951 roku Makarego (Oksijuka), arcybiskupa Rosyjskiego Kościoła Prawosławnego. Po odsunięciu w 1948 roku od zarządzania Kościołem metropolity Dionizego władze wyznaniowe dążyły do obsadzenia tronu metropolitalnego przez hierarchę, który miałby realizować politykę kościelną zgodną z linią polityczną władz. Pomimo zrealizowania założonych celów metropolita Makary okazał się hierarchą, który nie spełnił oczekiwań władz (m.in. w zakresie polityki wobec grekokatolików), co wpłynęło na podjęcie decyzji o usunięciu go z zajmowanego stanowiska.

Between Orthodoxy and Enlightenment

2019 ◽  
pp. 14-26
Author(s):  
Paul Helm
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
Church Of Scotland ◽  
The Enlightenment ◽  
Representative Selection ◽  
Adult Lives ◽  
The Church ◽  
Selection Of

This chapter is an attempt to gauge the theology of the Church of Scotland in the first half of the eighteenth century by considering a representative selection of theological writers of that period. Each of those considered—Thomas Blackwell, Robert Riccaltoun, and Thomas Halyburton—held parish ministries, two them for most of their adult lives, and two of them held chairs of theology. Distinct personalities, each upheld the position of the Westminster Standards con animo. Yet each reveal in their different ways an awareness of changes that the Enlightenment was bringing, calling for adaptation to the literary form of theology, or in its apologetic direction.

scholarly journals Visual and Functional Aspects of Inscriptions in Early Church Floors

1970 ◽  
Vol 24 ◽  
pp. 45-63
Author(s):  
Bente Kiilerich
Keyword(s):  
Sacred Space ◽  
Random Selection ◽  
Early Church ◽  
Functional Aspects ◽  
Floor Mosaics ◽  
East And West ◽  
Relationship Of ◽  
The Relationship ◽  
The Church ◽  
Selection Of

Floor mosaics in early churches often display inscriptions of various kinds: names and labels, artists’ signatures, donor inscriptions, longer epigrams and, more rarely, Biblical quotations. Examining a selection of monuments of the fourth to sixth centuries, from both East and West, this paper discusses visual aspects of design, layout and framing, the functions of inscriptions and the relationship of text to image. While some examples appear to be representative for general tendencies in the period, others are unique and generalizations cannot be drawn from them. The paper demonstrates that the floor inscriptions in early churches had many purposes: they labeled figures, explained scenes, commemorated benefactors. Even a random selection of inscriptions shows that care was taken to make the words integral to the mosaic decoration, both aesthetically and conceptually. Placed in the “humblest” part of the church, the floor inscriptions may offer a first key to unlocking the cosmic meaning of the sacred space of the church.

scholarly journals Measuring the Quality of God's Servants According to Acts 6: 3 At the Surabaya City Tabernacle Pentecostal Church

2019 ◽  
Vol 2 (1) ◽  
pp. 24-33
Author(s):  
Widi s Prasetyo ◽  
Juanda Juanda ◽  
Surja Permana ◽  
Daniel Ari Wibowo
Keyword(s):  
The Times ◽  
The Church ◽  
Selection Of

Research on the Implementation of the Qualifications of God's Servants According to Acts 6: 3 In the Pentecostal Church of Surabaya City Secretariat, wanted to find out the whereabouts of God's servants in the study according to Acts 6: 3, especially in the scope of the Pentecostal Church Surabaya City Tabernacle. Specifically chapter 6: 3, explains the essence of the solution to the problem, namely the selection of 7 servants of God. Obviously Dr. Luke reveals the criteria of God's servant who can be the solution to the problems that occur. At present, most Churches of God are more concerned with the physical buildings, facilities and infrastructure of the Church rather than thinking about how to get God's servants who can answer the needs of the congregation and the challenges of the times. What is even more concerning is that many of the Churches of God are procuring servants of God who only look at the side that can increase the image and popularity of the Church. So often the Church is.

scholarly journals The origin of the miraculous painting of Our Lady in Krekenava Church: iconographic sources and their contexts

Menotyra ◽  
2018 ◽  
Vol 25 (1) ◽  
Author(s):  
Regimanta Stankevičienė
Keyword(s):  
Virgin Mary ◽  
Eastern Orthodox ◽  
Gold Plating ◽  
Oil Painting ◽  
Modern Times ◽  
Parish Church ◽  
Grand Duchy Of Lithuania ◽  
The Impact ◽  
The Church ◽  
Selection Of

The article presents a high altar painting of “Our Lady with the Child” in the Krekenava Basilica of the Assumption of the Virgin Mary (Our Lady of Krekenava; pine, canvas, oil; size: 172 × 111 cm). Parsons of Krekenava Church were Samogitian archdeacons. The picture was donated by Nicolao Povetrius (Mikalojus Povetrijus), a parson of the church in 1622–1634. It was announced that he brought the picture from Rome. However, the fabrics and artistic features of the painting show that it was created by a Lithuanian painter instead. Iconographic analysis suggests that the painting was painted on the basis of three old prototypes related to St. Luke authorship. These are icons from two very famous churches of Rome (S. Maria Maggiore (Salus Populi Romani) from the Basilica of the same title and S. Maria del Popolo from the church of the same title) and one from Poland and Lithuania, which is highly respected (Our Lady of Częstochowa from Jasna Góra Pauline Monastery Basilica). It was noticed that from the end of the 16th century, the copies of S. Maria Maggiore icon were created on the basis of the original image, e.g. a Jesuitic copy of 1569, which transferred the original painting into the image of the modern times (at present, in S. Andrea al Quirinale monastery). Such copies very quickly spread in Lithuania, where representations of Our Lady of Częstochowa became more and more popular. The derivations of the icon of S. Maria del Popolo were also created. This is testified by the altar painting of the Zarasai Parish Church (until 1610). The combination of several important aspects of origin (St. Luke authorship), cult and iconography of miraculous images of Our Lady in one painting are considered to be an aspiration to create the most suitable ideal image of Our Lady. Applying this method by combining the iconography of S. Maria Maggiore and Our Lady of Częstochowa, a high altar painting of Our Lady of Tytuvėnai Church was created at the same period and benefited by Vilnius Bishop Eustachy Wołłowicz (Eustachijus Valavičius). Krekenava and Tytuvėnai paintings are among the earliest images of the miraculous derivations of Our Lady in Lithuania. The iconography taken from prototypes was supplemented by crowns. The derivation of venerable archaic images of Our Lady was a process of re-evaluation and innovative expose, which took place in the post-Tridentine Church. The process was launched in Rome, and customers of the Krekenava image and other mentioned paintings of Our Lady in Lithuania were high or higher Catholic priests who studied or visited Rome and other Italian cities for other purposes. It is likely that they visited famous paintings and brought their copies. The paintings of Krekenava and Tytuvėnai because of oil painting technique and style are examples of the New Times painting, which was called “Latin” in Lithuania. They have archaic features taken from the prototypes. However, the origin of prototypes dissociates them from the Eastern Orthodox tradition of sacral paintings of the Grand Duchy of Lithuania, to which they are often wrongly attributed. Only wood panels and selection of symbolic gold plating background (golden colour in the Krekenava image) testifies to the impact of the latter tradition.

scholarly journals Spiritualiteit in die lig van Romeine 12

1998 ◽  
Vol 32 (4) ◽  
Author(s):  
C. J. H. Venter
Keyword(s):  
Integral Element ◽  
The Church ◽  
Selection Of ◽  
Reformed Spirituality

In this article certain central concepts in a selection of recent definitions of Reformed spirituality are investigated. These definitions are contextualized in order to direct the investigation of spirituality in Romans 12. After a justification for the selection of specifically Romans 12 as focus area for this article, certain elements regarding spirituality in Romans 12 are highlighted. These elements inter alia imply the founding of spirituality in the mercy and sovereignty of God, commitment to God as integral element in our spirituality and eschatological dimensions. Furthermore, the role of the church in equipping believers for a lifestyle characterized by spirituality is focused on. In conclusion certain concrete actions reflecting the fruit of spirituality according to Romans 12 are outlined.

African Theology of Reconstruction: The Painful Realities and Practical Options!

Exchange ◽  
2009 ◽  
Vol 38 (1) ◽  
pp. 84-102 ◽  
Author(s):  
Masiiwa Ragies Gunda
Keyword(s):  
Coming Out ◽  
African Theology ◽  
African People ◽  
The Subject ◽  
Out Of Africa ◽  
Number Of Publications ◽  
External Forces ◽  
The Right ◽  
The Church ◽  
Selection Of

AbstractReconstruction theology in Africa has been the latest theological project coming out of Africa, beginning in 1990 it has gradually established itself and from 2003 a number of publications have come out on the subject. This paper seeks to make an addition to this growing list of publications. In this paper, I question the validity of the blame of external forces for all the woes that Africa is going through now. I instead propose that a functional reconstruction theology should primarily tackle the evil that we commit against ourselves. When we deal with this evil we have a likelihood of bringing African people into a proper unified group that can stand together against foreign elements. I also take issue with the selection of Nehemiah as the model upon which we can do our reconstruction theology. It is in this context that this paper suggests the prophet Amos over and above Jesus as the right model needed to confront the sort of problems we face as Africans. There is need for the church in Africa to undergo a reconstruction of its own after which the church can lead in the African reconstruction. This paper brings to the fore the painful realities of internally perpetrated evils, which are bigger than has been appreciated in many earlier contributions.

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