scholarly journals Alle drey Ding vollkomen sind! On the Meaning of Naming the Church after Holy Trinity According to Josua Wegelin, Preacher in Pressburg, Anno 1640

2017 ◽  
Vol 48 (1) ◽  
pp. 23-27
Author(s):  
Wojciech Gruk
Keyword(s):  
Religious Culture ◽  
Symbolic Meaning ◽  
Church Architecture ◽  
Holy Trinity ◽  
Lutheran Church ◽  
Worship Space ◽  
Lutheran Theology ◽  
The Relationship ◽  
The Church ◽  
Insight Into

Based on two erudite occasional prints from 1640, commemorating the consecration of the new Lutheran church in Bratislava, the article concerns the meaning of a church name in the mid-17th century Lutheran religious culture. The issue is set and discussed in the broader context of Lutheran theology regarding places of cult: what is a Lutheran place of cult, what is its sacredness, what is the relationship between church architecture and the worship space it determines. From the perspective of cultural studies, the article provides an insight into the process of imposing the architecture with symbolic meaning.

Jan II van Coninxloo en zijn werkzaamheden voor het benedictinessenklooster van Groot-Bijgaarden bij Brussel

1998 ◽  
Vol 112 (2-3) ◽  
pp. 104-126
Author(s):  
Frank Van Der Ploeg
Keyword(s):  
Significant Part ◽  
The Veil ◽  
First Time ◽  
The Relationship ◽  
The Church ◽  
Insight Into

AbstractThis article examines the relationship between the Brussels painter Jan 11 van Coninxloo (ca. 1489-1561 or later) and the Benedictine convent of Groot-Bijgaarden. In earlier publications by J. Maquet-Tombu the link between certain members of the Van Coninxloo family and the Vorst convent have already been pointed out. A new chapter can now be added. In the archive of Groot-Bijgaarden convent are two books in which payments made by the prioresses Françoise and Catherine van Straten for the dccoration of the convent and the church are recorded. The books list a separate item for painting and polychrome work. Here, for the first time, the name Jan van Coninxloo crops up in connection with a sum paid for painting the side panels of the main altar. Van Coninxloo was also paid for painting organ doors, a vaulted ceiling and for 'rough painting'. Four triptychs by Van Coninxloo have also been preserved; they were commissions from women of noble birth who had taken the veil. The names of three of these nuns are known: Anthonine de Locquenghien, Berbel van dcr Noot and Marie Brant. The fourth was called Barbara (Berbel). In view of all this material it may be concluded that Van Coninxloo played a significant part in the decorative appearance of the convent church. He was responsible for triptychs on altars dedicated to St. Anne, St. John and St. Benedict. He also painted the smaller triptych with the Seven Sorrows of the Virgin, the panels of the high altar, doors for an organ and (part of) the ceiling decorations. The article offers a new insight into the context of a group of paintings and adds a number of works to Jan 11 van Coninxloo's oeuvre.

scholarly journals Biskup i prezbiteri u obzoru ekleziologije zajedništva

Diacovensia ◽  
2018 ◽  
Vol 26 (2) ◽  
pp. 295.-311.
Author(s):  
Davor Vuković
Keyword(s):  
Second Vatican Council ◽  
Mutual Respect ◽  
Church Community ◽  
People Of God ◽  
Vatican Council ◽  
Parish Community ◽  
The Relationship ◽  
Parish Priests ◽  
The Church ◽  
Insight Into

The aim of this paper is to reflect on the relationship between the bishop and presbyters in view of the ecclesiology of communion, i.e. the ecclesiology of the Second Vatican Council. The author gives an insight into the essence of the offices of bishop and presbyter, and into the question of their mutual relationship in the perspective of the ecclesiology of communion. The bishop and presbyters are not isolated in the church community, nor are they for their own purpose, but can be understood properly only in view of the communion of the whole people of God, and in the perspective of service which represents an important dimension of ecclesiastical office and authority. In this regard, the offices of bishop and presbyter, as well as their relationship, must first be characterized by co-operation, co-responsibility, mutual respect, and acknowledgment, all in the atmosphere of essential Christian communion and service in love. The author further points to two ‘holy’ concerns: the concern of the bishop for the presbyters, and the concern of the presbyters, especially parish priests for the entrusted parish community. The last part of the paper seeks to raise awareness about the importance of justice within the church community, especially in relationships between bishops and presbyters.

scholarly journals Orthodox churches inscribed on the UNESCO World Heritage Site – the selection criteria

2015 ◽  
Vol 14 (3) ◽  
pp. 235-240
Author(s):  
Piotr Gleń
Keyword(s):  
Cultural Values ◽  
World Heritage ◽  
World Heritage Site ◽  
Church Architecture ◽  
Unesco World Heritage ◽  
Carpathian Region ◽  
Heritage Site ◽  
Unesco World Heritage Site ◽  
The Relationship ◽  
The Church

The article deals with cultural values that represents the wooden church architecture. Author focuses on the examples of the church in the Polish and Ukrainian region of Carpathian mountains. The abundance of wood as a building material in the region, as well as the landform and the localization, resulted that the local architecture Orthodox Church has become a unique and highly characteristic. The author of the article, presents the wooden churches in the Poland and Ukraine inscribed on the UNESCO World Heritage Site which took place on 21 June 2013, at the 37 session. On that list is currently 16 Orthodox churches of the Carpathian region: 8 temples on the Polish side and 8 from the Ukrainian side. The churches of the Carpathian region inscribed on the UNESCO World Heritage are a testament to the interpenetration of Christian culture characteristic of the East and the West showing the relationship between the Polish and Ukrainian community.

What the church betokeneth: Placing the people at the heart of sacred space

2018 ◽  
Author(s):  
Laura Varnam
Keyword(s):  
Fifteenth Century ◽  
Middle English ◽  
Sacred Space ◽  
Church Architecture ◽  
The People ◽  
Church Building ◽  
The Relationship ◽  
The Church ◽  
Church Buildings

This chapter examines the debate over the relationship between the church building and its community in orthodox and Lollard texts. The chapter begins with the allegorical reading of church architecture in William of Durandus’s Rationale divinorum officiorum and the Middle English What the Church Betokeneth, in which every member of the community has a designated place in the church. The chapter then discusses Lollard attempts to divorce the building from the people by critiquing costly material churches and their decorations in The Lanterne of Liȝt, Lollard sermons, and Pierce the Ploughman’s Crede. The chapter concludes by examining Dives and Pauper in the context of fifteenth-century investment in the church, both financial and spiritual, and argues that in practice church buildings were at the devotional heart of their communities.

scholarly journals Reformation jubilees: Is there cause for celebration in 2017? – What remains?

2015 ◽  
Vol 71 (3) ◽  
Author(s):  
Werner Klän
Keyword(s):  
Focal Point ◽  
Theology Of The Cross ◽  
Lutheran Theology ◽  
The Reformation ◽  
Christian Fellowship ◽  
Church And Society ◽  
In Christ ◽  
The Cross ◽  
The Relationship ◽  
The Church

This article is about the 500 hundred year commemoration of the Reformation in 2017. However, the question is to be asked: What should we celebrate in 2017? The article reflects on this question against the background of the ongoing division within Western Christianity. It discusses objectives laid out by Wolfgang Huber in 2008 for the Luther Decade. These objectives focus on the relationship between church and society, and particularly Lutheran-themes such as ‘hopelessnesses of life’, ‘afflictions of faith’, ‘God’s hiddenness’ and the ‘theology of the cross’. The article demonstrates that the soteriological focal point of Biblical-Lutheran theology reflects the assertion that it is only God who, through the belief in Christ, awards freedom and dignity to every human. The Church represents the ‘metaphor of a Christian fellowship’, which is a fellowship of equals that provides a socio-political impetus.

Martin Luther: Prophet to The Church Catholic

1984 ◽  
Vol 37 (3) ◽  
pp. 313-327
Author(s):  
James Atkinson
Keyword(s):  
Catholic Church ◽  
Roman Catholic ◽  
Roman Catholic Church ◽  
Word Of God ◽  
General Acceptance ◽  
Lutheran Church ◽  
Biblical Scholarship ◽  
Lutheran Theology ◽  
Subsequent Rise ◽  
The Church

Controversy forced Luther into a confessional position which history has hardened almost into a kind of denominationalism. The subsequent rise of the ‘Lutheran’ Church, and of ‘Lutheran’ theology, owing to Luther's excommunication and his exclusion from the Roman Catholic Church, have contributed to a general acceptance of this evaluation. Save for a few distinguished Roman Catholic and Protestant scholars, who have worked on the sources and allow Luther to speak for himself, most historians, and certainly the general reader, work on the assumption that Luther is such a ‘confessional’ figure. To find a truer understanding of Luther, of what he was concerned to say to the Church of his day, it is necessary to detach him from this confessional, denominational location by setting him in the Catholic environment in which he was born, in which he was educated, and to which he felt called by God to speak the Word of God. He should be seen as a reformer of a Catholicism which had largely become de-spiritualised and secularised. He offered a reformatio of that which had suffered a de-formatio, and did so for the sake of God, propter deum, as he put it. He sought only to reform a Catholicism which he loved, and to reform it, not as he thought fit, but according to the intent of Jesus Christ and his Apostles, and that on the lines of solid biblical scholarship, authentic tradition and fair argument.

The German Lutheran Church and the Rise of National Socialism

1972 ◽  
Vol 41 (3) ◽  
pp. 326-336 ◽  
Author(s):  
Hans Tiefel
Keyword(s):  
National Socialism ◽  
Protestant Church ◽  
Lutheran Church ◽  
Confessing Church ◽  
Impossible Task ◽  
Objective Understanding ◽  
Protestant Christians ◽  
The Relationship ◽  
The Church

The attempt to arrive at a balanced and objective understanding of the relationship between the German Protestant church, which is predominantly Lutheran, and the rise of National Socialism is an almost impossible task today. For what we now hear about the Protestant church of the thirties tends to be written by those who were vindicated by the turn of events, while those who supported Hitler and National Socialism have tended to remain silent, understandably enough. The flood of books and articles by the Confessing Church gives the misleading impression that the stand of the church toward the Nazi state was one of resistance and opposition. Instead, the main Protestant response to Hitler and to the nationalistic forces he represented ranged from inactive indifference to over-whelming support. The Confessing Church, which did display a courageous though not always consistent opposition, at best never spoke for more than about one tenth of all Protestant Christians.

scholarly journals Construction History and Research of the Holy Trinity Parish Church in Szigetmonostor

2021 ◽  
Author(s):  
Ágnes Gyetvainé Balogh
Keyword(s):  
Eighteenth Century ◽  
Church Architecture ◽  
Holy Trinity ◽  
Parish Church ◽  
The Church

The church of Szigetmonostor, together with the parish building in front, and the late chanter house next to it, is the characteristic complex of its environment. Its plan with the middle tower façade solution is a classic example of Baroque church architecture of the eighteenth century. The most valuable part of the building is the late Baroque pulpit renovated while keeping its original appearance.Szigetmonostor – earlier Monostor – a municipality in Pest County on the Szentendre Island came into the possession of the Zichy family after the Turkish rule. In the 1730s, Ferenc Zichy put the tenure in pawn to Gábor Horányi, a servant judge in Pest County, who started greater developments here by building a castle (today the parish) and a church in the 1740s. The tower was built in front of the main façade a few years after the completion of the nave. The Vienna Court Chamber acquired the manor from the Zichy family in 1766 after a long lawsuit, also redeeming Monostor from the Horányi family. In 1774, the master masons Mihály János Hamon and Jakab Gföller were commissioned to survey the buildings of the manor, which came into the possession of the Crown from the Zichys. Their survey plans illustrate the church with the small teaching house and church garden next to it. During the 19th and 20th centuries, the church underwent several renewals and renovations and minor alterations that could be tracked with the help of records and Canonica Visitatios.

scholarly journals David Jones's ‘Barbaric-Fetish’: Frazer and the ‘Aesthetic Value’ of the Liturgy

2017 ◽  
Vol 12 (3) ◽  
pp. 439-462
Author(s):  
Jamie Callison
Keyword(s):  
Religious Culture ◽  
Creative Potential ◽  
Aesthetic Value ◽  
Aesthetic Form ◽  
Human Creativity ◽  
Imaginative Thinking ◽  
The Aesthetic ◽  
The Relationship ◽  
The Church ◽  
Critical Interest

Much recent critical interest in the relationship between modernism and religion has concerned itself with the occult, spiritualism, and theosophy as opposed to institutional religion, relying on an implicit analogy between the experimental in religion and the experimental in art. I argue that considering Christianity to be antithetical to modernism not only obscures an important facet of modernist religious culture, but also misrepresents the at-once tentative and imaginative thinking that marks the modernist response to religion. I explore the ways in which the poet-painter David Jones combined sources familiar from cultural modernism – namely Frazer's The Golden Bough – with Catholic thinking on the Eucharist to constitute a modernism that is both hopeful about the possibilities for aesthetic form and cautious about the unavoidable limitations of human creativity. I present Jones's openness to the creative potential of the Mass as his equivalent to the more recognisably modernist explorations of non-Western and ancient ritual: Eliot's Sanskrit poetry, Picasso's African masks, and Stravinsky's shamanic rites and suggest that his understanding of the church as overflowing with creative possibilities serves as a counterweight to the empty churches of Pericles Lewis’ seminal work, Religious Experience and the Modernist Novel.

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