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This book examines ideas of spiritual nourishment as maintained chiefly by Patristic theologians –those who lived in Byzantium. It shows how a particular type of Byzantine frescoes and icons illustrated the views of Patristic thinkers on the connections between the heavenly and the earthly worlds. The author explores the occurrence, and geographical distribution, of this new type of iconography that manifested itself in representations concerned with the human body, and argues that these were a reaction to docetist ideas. The volume also investigates the diffusion of saints’ cults and demonstrates that this took place on a North-South axis as their veneration began in Byzantium and gradually reached the northern part of Europe, and eventually the entirety of Christendom.
The focus of the book is a particular region of the Byzantine Empire, Cappadocia, within Anatolia, in the centre of what is now Turkey. Its history as a part of this confederation of territories coincides with the medieval period in Europe. This monograph deals with various aspects of the province; it begins with its environment and climate, goes to some of its institutions and buildings, and ends with the paintings which the art-ists employed to decorate the latter, as well as with a particular type of inscriptions (those along the frontiers). It also considers education in Cappadocia during the Byzantines. The study is a scholarly/professional work that draws on the author's current research as well as on the material which the author developed in the last four years while teaching for the University of Ox-ford.
This volume offers the first comparative, interdisciplinary, and intercultural examination of the lactating woman – biological mother and othermother – in antiquity and early Byzantium. Adopting methodologies and knowledge deriving from a variety of disciplines, the volume’s contributors investigate the close interrelationship between a woman and her lactating breasts, as well as the social, ideological, theological, and medical meanings and uses of motherhood, childbirth, and breastfeeding, along with their visual and literary representations. Breastfeeding and the work of mothering are explored through the study of a great variety of sources, mainly works of Greek-speaking cultures, written and visual, anonymous and eponymous, which were mostly produced between the first and the seventh century AD. Due to their multiple interdisciplinary dimensions, ancient and early Byzantine lactating women are approached through three interconnected thematic strands having a twofold focus: society and ideology, medicine and practice, and art and literature. By developing the model of the lactating woman, the volume offers a new analytical framework for understanding a significant part of the still unwritten cultural history of the period. At the same time, the volume significantly contributes to the emerging fields of breast and motherhood studies. The new and significant knowledge generated in the fields of ancient and Byzantine studies may also prove useful for cultural historians in general and other disciplines, such as literary studies, art history, history of medicine, philosophy, theology, sociology, anthropology, and gender studies.
Focuses on one of the most attractive features of late medieval manuscript illumination: the portrait of the book owner at prayer within the pages of her prayer-book.
According to a longstanding interpretation, book religions are agents of textuality and logocentrism. This volume inverts the traditional perspective: its focus is on the strong dependency between scripture and aesthetics, holy books and material artworks, sacred texts and ritual performances. The contributions, written by a group of international specialists in Western, Byzantine, Islamic and Jewish Art, are committed to a comparative and transcultural approach. The authors reflect upon the different strategies of »clothing« sacred texts with precious materials and elaborate forms. They show how the pretypographic cultures of the Middle Ages used book ornaments as media for building a close relation between the divine words and their human audience. By exploring how art shapes the religious practice of books, and how the religious use of books shapes the evolution of artistic practices this book contributes to a new understanding of the deep nexus between sacred scripture and art.
The early Christian Gnosis did not spring up in isolation, but drew upon earlier sources. In this book, many of these sources are revealed for the first time. Special emphasis is placed on the Hellenistic doctrine of the "Solar Logos" and the early Christian symbolism which depicted Christ as the Spiritual Sun, the illumination source of order, harmony, and spiritual insight. Based on 15 years of research, this is a unique book which throws a penetrating light on the secret traditions of early Christianity. It clearly demonstrates that number is at the heart of being. Jesus Christ, Sun of God, illustrates how the Christian symbolism of the Spiritual Sun is derived from numerical symbolism of the "ancient divinities."
The French president Charles de Gaulle spoke of a Europe “from the Atlantic to the Urals”. Europe was spatially formed with these topographic parameters from the late 10th century onwards, with the massive Christianization of its inhabitants. At that time, however, all three monotheistic religions already had a steady presence there. Could such a macro-space be thought-and-narrated from a macro-perspective, in view of its medieval past? This has already been done through common ʻdenominatorsʻ such as the Migration Period, wars, trade, spread of Christianity. Could it also be seen through a common religious-philosophical and spiritual phenomenon – the Anticipation of the End of the world among Christians, Muslims, and Jews? This book gives a positive answer to the last question.
Explores the paradoxical symmetry between the divine and demonic in early Jewish mystical texts. Divine Scapegoats is a wide-ranging exploration of the parallels between the heavenly and the demonic in early Jewish apocalyptical accounts. In these materials, antagonists often mirror features of angelic figures, and even those of the Deity himself, an inverse correspondence that implies a belief that the demonic realm is maintained by imitating divine reality. Andrei A. Orlov examines the sacerdotal, messianic, and creational aspects of this mimetic imagery, focusing primarily on two texts from the Slavonic pseudepigrapha: 2 Enoch and the Apocalypse of Abraham. These two works are part of a very special cluster of Jewish apocalyptic texts that exhibit features not only of the apocalyptic worldview but also of the symbolic universe of early Jewish mysticism. The Yom Kippur ritual in the Apocalypse of Abraham, the divine light and darkness of 2 Enoch, and the similarity of mimetic motifs to later developments in the Zohar are of particular importance in Orlov’s consideration.