scholarly journals Phoenix and Delphinus Salvator: The History of the Forgotten Images of Early Christian Iconography

2020 ◽  
Vol 30 (3) ◽  
pp. 9-26
Author(s):  
Józef Cezary Kałużny
Keyword(s):  
Early Christian ◽  
Christian Art ◽  
History Of ◽  
Christian Iconography ◽  
The Phoenix

Art in the 3rd and 4th centuries underwent transformations and adapted cer­tain representations which were typical of ancient iconography to the new needs and tasks of Christian art. Among the abundant examples of this pro­cess, many continue to be popular and recognizable, such as the representation of Hermes Kriophoros, which evolved to become Christ the Good Shepherd, or the sleeping Endymion, which became part of the “Jonah cycle.” The adaptation of patterns from antiquity for the purposes of Christian iconography was both popular and quite common, but only a fraction of the representations developed in that period survive today. This paper discusses the representa­tions that have been forgotten. Relying on the examples of the phoenix and the dolphin-rescuer, the paper analyzes factors that affected the partial (phoenix) or complete (delphinus salvator) disappearance of images which were typical of early Christian art and which relied on ancient imagery.

scholarly journals A főnix újjászületése Petrarca Daloskönyvében

2018 ◽  
pp. 77-98
Author(s):  
Éva Vígh
Keyword(s):  
Francesco Petrarca ◽  
Early Christian ◽  
Rhetorical Figures ◽  
Ancient Literature ◽  
History Of ◽  
Troubadour Poetry ◽  
The Phoenix

In the history of civilization and ancient literature, from Hesiod, Herodotus, Pliny, Tacito, Ovid to early Christian authors the symbolism of the bird periodically reborn from its ashes continued to survive in the sheets of encyclopedias and bestiaries. The image of the phoenix was transmitted by medieval troubadour poetry in form of rhetorical figures. Francesco Petrarca was not only the renewer of European poetry: he opened a completely singular way even in the interpretation of the unica avis. After having briefly outlined the poetic and spiritual symbolism of the phoenix, the paper focuses on a new poetic role of the bird present in six poems of Canzoniere, accentuating its reflective and pondered contiguousness.

Children of the Waters: Whirlpools, Waiora, Baptism and Missio Dei

2020 ◽  
Vol 37 (1) ◽  
pp. 5-28
Author(s):  
Rev Hone Te Rire ◽  
Steve Taylor
Keyword(s):  
Oral History ◽  
Environmental Ethic ◽  
Missio Dei ◽  
Early Christian ◽  
Christian Art ◽  
The Pacific ◽  
Treaty Of Waitangi ◽  
History Of ◽  
Waitangi Tribunal ◽  
The Church

Abstract From space, the Pacific glitters in ocean blue. What might the world’s largest ocean contribute to missio Dei? A spiral methodology is used to trace connections between the baptism of Jesus, early Christian art, recent legal (Treaty of Waitangi Tribunal) research and indigenous knowing, including ocean voyaging, ancestor understandings of whirlpools, Māori water rites and oral history of river beings (taniwha). The argument is that indigenous Oceanic (Māori) understandings of water, in conversation with baptismal narratives, present missio Dei as an immersion in God. Mission is located not in the activity of the church – and hence mission expansion as part of European colonisation – but in the being and becoming of God. Creation and redemption are interconnected and an environmental ethic is expected. Children of the waters (ngā tamariki o te Moana nui a Kiwa) listen to creation’s voice (taniwha speaking) and act for the life (waiora) of water.

Archaeologies and Agendas: Reflections on Late Ancient Jewish Art and Early Christian Art

2003 ◽  
Vol 93 ◽  
pp. 114-128 ◽  
Author(s):  
Jaś Elsner
Keyword(s):  
General Public ◽  
Late Antiquity ◽  
Religious Art ◽  
Methodological Basis ◽  
Know How ◽  
Early Christian ◽  
Jewish Art ◽  
Christian Art ◽  
History Of ◽  
Critical Historiography

There are (at least) two ways to approach the history of religious art in Antiquity. One is to study what was going on in the ancient world, to tell the story as they (the subjects of our inquiry) saw it and as they did it. Another is to ask how we know how they saw it and did it. The first might be called ‘history’, the second ‘critical historiography’. Both are crucial to the historical enterprise, and I in no way intend to demean the first by saying that this paper is largely of the second kind. My project is to examine what are the grounds for our assumptions in creating the generalizations of ‘Late Ancient Jewish Art’ and ‘Early Christian Art’ as real categories of visual production in Late Antiquity with specific and discrete audiences and constituencies of patrons and producers. Both fields are venerable, with long historiographies and complex guiding-agendas of the sort that are perhaps inevitable given the kinds of ancestral investments made by scholars and indeed members of the general public (which is to say, also adherents of the two faiths) in both fields. In addition to prising apart the history of some of these investments, I want to question the methodological basis for many of the assumptions about what can rightly be classified under either the heading of ‘Jewish’ art or of ‘early Christian’ art.

scholarly journals Monety z Apamei Kibotos. Najstarsza ikonografia Arki Noego

Vox Patrum ◽  
2008 ◽  
Vol 52 (1) ◽  
pp. 455-470
Author(s):  
Aleksandra Kiełczewska
Keyword(s):  
Jewish Community ◽  
Main Part ◽  
Short History ◽  
Early Christian ◽  
Christian Art ◽  
Ancient City ◽  
History Of ◽  
The City ◽  
Noah's Ark

Author of the article presents the series of six coins minted in ancient city of Apamea Kibotos in Phrygia during the reign of emperors Septimus Severus (193- 211), Macrinus (217-218), Alexander Severus (222-235), Gordian III (238-244), Philip the Arab (244-249) and Trebonius Gallus (251-253). The coins depict Noah’s Ark and were connected with Jewish community of the city. The article introduces a short history of Apamea and Jewish settlers in this region. The main part of the article presents the description of the scenes on the coins and tries to explain the circumstances of their appearance in ancient Roman city. An attempt to explain the meaning of the Greek nickname for Apamea - Kibotos, is also significant. In the end of the article author makes the comparison with depictions of Noah’s Ark in early Christian art.

scholarly journals The Christian Art of Being Governed

2015 ◽  
pp. 243-265 ◽  
Author(s):  
Colin Gordon
Keyword(s):  
Historical Analysis ◽  
The Political ◽  
Western History ◽  
Early Christian ◽  
Christian Art ◽  
History Of ◽  
The Subject ◽  
The Government ◽  
Modes Of Engagement ◽  
New Phase

Like all previously published volumes of his lectures, the content of The Government of the Living defies brief summary. It shows us Foucault in 1980 mapping out a major new phase in his work in terms that complicate our existing understanding of his unfinished project. My review looks in turn at the two parts of the course: an unusually lengthy discussion of method and heuristics, followed by a tightly focused study of early Christian regimes of truth. I suggest that the complex opening theoretical reflections in these lectures go well beyond mapping the course of the immediately following historical analysis. They need to be seen in coordination with other conceptual innovations introduced over the following years, putting a task that Foucault calls here a “history of the power of truth” on his agenda alongside, and in integral connection with the previously defined tasks of a history of governmentality and a history of the subject. A newly published discussion in Berkeley later in 1980 adds crucial context to these Paris lectures, spelling out the linkage of structures of subjectivation to governability and of penitential ascetics to pastoral power. Taken together, the later books and lectures can now be seen to establish a framework of what I suggest we can call “alethic” or “aletheological” analysis, analysing and mapping across the span of Western history the modes of engagement of life and truth, with a view to enabling a renewed analysis of the political present.

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