The History of the Blessed Virgin Mary and The History of the Likeness of Christ which the Jews of Tiberias Made to Mock at: The Syriac texts PDF Download
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Author: Sir Ernest Alfred Wallis Budge
Publisher:
ISBN:
Category : Apocryphal books (New Testament)
Languages : en
Pages : 282
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Book Description
Author: Sir Ernest Alfred Wallis Budge
Publisher:
ISBN:
Category : Apocryphal books (New Testament)
Languages : en
Pages : 282
Get Book Here
Book Description
![Supplementary Catalogue of the Public Library of New South Wales, Sydney for the Years 1888-[1910] ... PDF](https://books.google.com/books/content/images/frontcover/HYZPAQAAMAAJ?fife=w80-h100)
Author: Public Library of New South Wales
Publisher:
ISBN:
Category : Library catalogs
Languages : en
Pages : 1182
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Author:
Publisher:
ISBN:
Category : Oriental literature
Languages : en
Pages : 376
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Author: Herman Joseph Heuser
Publisher:
ISBN:
Category :
Languages : en
Pages : 720
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Author: Ally Kateusz
Publisher: Springer
ISBN: 3030111113
Category : Religion
Languages : en
Pages : 305
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Book Description
This book is open access under a CC BY-NC-ND license. This book reveals exciting early Christian evidence that Mary was remembered as a powerful role model for women leaders—women apostles, baptizers, and presiders at the ritual meal. Early Christian art portrays Mary and other women clergy serving as deacon, presbyter/priest, and bishop. In addition, the two oldest surviving artifacts to depict people at an altar table inside a real church depict women and men in a gender-parallel liturgy inside two of the most important churches in Christendom—Old Saint Peter’s Basilica in Rome and the second Hagia Sophia in Constantinople. Dr. Kateusz’s research brings to light centuries of censorship, both ancient and modern, and debunks the modern imagination that from the beginning only men were apostles and clergy.
Author: Edinburgh University Library
Publisher:
ISBN:
Category : Library catalogs
Languages : en
Pages : 1424
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Author: Sir Ernest Alfred Wallis Budge
Publisher:
ISBN:
Category : Apocryphal books (New Testament)
Languages : en
Pages : 308
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Book Description
Author: Mary Ann Beavis
Publisher: Bloomsbury Publishing
ISBN: 056768346X
Category : Religion
Languages : en
Pages : 283
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Book Description
This interdisciplinary volume of text and art offers new insights into various unsolved mysteries associated with Mary Magdalene, Mary of Bethany, Mary the Mother of Jesus, and Miriam the sister of Moses. Mariamic traditions are often interconnected, as seen in the portrayal of these women as community leaders, prophets, apostles and priests. These traditions also are often inter-religious, echoing themes back to Miriam in the Hebrew Bible as well as forward to Maryam in the Qur'an. The chapters explore questions such as: which biblical Mary did the author of the Gospel of Mary intend to portray-Magdalene, Mother, or neither? Why did some writers depict Mary of Nazareth as a priest? Were extracanonical scriptures featuring Mary more influential than the canonical gospels on the depiction of Maryam in the Qur'an? Contributors dig deep into literature, iconography, and archaeology to offer cutting edge research under three overarching topics. The first section examines the question of "which Mary?" and illustrates how some ancient authors (and contemporary scholars) may have conflated the biblical Marys. The second section focuses on Mary of Nazareth, and includes research related to the portrayal of Mary the Mother of Jesus as a Eucharistic priest. The final section, “Recovering Receptions of Mary in Art, Archeology, and Literature,” explores how artists and authors have engaged with one or more of the Marys, from the early Christian era through to medieval and modern times.
Author:
Publisher:
ISBN:
Category :
Languages : en
Pages : 724
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Author: Jack M. Greenstein
Publisher: University of Chicago Press
ISBN: 9780226307077
Category : Art
Languages : en
Pages : 334
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Book Description
In this study, Jack M. Greenstein draws on Early Renaissance art theory, modern narratology, translation studies, critical theory, the philosophy of history, and biblical hermeneutics to explicate the sense and significance of one of Andrea Mantegna's most enigmatic and influential works, the Uffizi Circumcision of Christ. Faced with a work that resists established methods of iconographical analysis, Greenstein reassesses the nature and goals of high humanist narrative painting. The result is a new, historically grounded theory of iconography that calls into question many widely held assumptions about the social and intellectual value of Early Renaissance art. Greenstein's theory rests on a careful analysis of Leon Battista Alberti's commentary On Painting, which equated both the form and the content of artistically composed painting with historia. Situating this equation within a centuries-old discourse on the multivalent significance of the Bible, Greenstein shows that, for Alberti, historia was a mode of artistic narrative, common to literature and painting, in which moral truths were presented to the corporeal senses, particularly to vision, in the guise of plausible human actions. In Greenstein's reading, the painter's primary task was the construction of a visually plausible narrative that effectively conveyed the higher meanings of historia. Having thus delineated the structure of significance in Albertian painting, Greenstein shows what was at stake when a painter of Mantegna's historical bent undertook to produce a historia. As one of the leading historical thinkers of his age, Mantegna imbued his depicted scenes with the plausibility of historical events by employing thosecodes of evidence, causality, and historical distance that underlay the Renaissance sense of the past. But the Circumcision of Christ resisted such treatment because the symbolic conventions developed by earlier artists for conveying the higher theological meanings of the theme were incompatible with the representational fidelity embraced by painters of historia. Mantegna overcame these difficulties by arriving at a new understanding of the Circumcision, which remained faithful to the narrative structure as well as the theological content of the biblical account. His interpretation was widely adopted by later artists, but was so pictorial in nature that, despite its consistency with the biblical account, it remained with-out parallel in theological literature. Greenstein's discovery--that artistic production of Albertian painting was a specialized and singularly visual form of thinking whose roots lay more in readerly hermeneutics than in perception, commerce, or common visual experience--raises questions about narrative, representation, and the textuality of art that will interest a wide array of scholars.
