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The icon known as the Image of Edessa (and later the Mandylion) is attributed to the times of Christ, although its existence before the sixth century is a matter for debate. It was taken from Edessa to Constantinople in the mid-tenth century and all traces of the icon are lost after the sack of Constaninople in 1204. The Image has never had its own biography containing all the known texts and information about this fascinating object. This book provides critical editions with previously unpublished versions of all related texts, translations of all texts into English and a detailed analysis of the origins, known history, possible fate and exact nature of the Image of Edessa.
This volume presents the latest historical, theological and site-specific developments in the study of the Image of Edessa, shedding new light onto various different aspects of the icon. Experts from Russia, Spain, Australia, Georgia, Italy and the United Kingdom bring their latest findings together in order to reach a deeper understanding of this fascinating object.
The Image of Edessa was an image of Christ, which, according to tradition, was of miraculous origin. It was taken from Edessa to Constantinople in 944, and disappeared from known history in the aftermath of the Fourth Crusade in 1204. It generated, however, a vast amount of literature and hundreds of copies in churches all over the Byzantine world. This book is a study of the literature, paintings, icons and other aspects related to the Image of Edessa. It examines how it was used as a tool to express Christ’s humanity and for various other purposes, and how some of the related literature became completely decontextualised and used as a magical charm, especially in the West.
The Image of Edessa, also later known as the Mandylion, was a relic of Christ, a cloth imprinted with his features which he had used to wipe his face, and subsequently used to cure King Agbar of Edessa, the first Christian ruler. This book collects and provides parallel translations of all the available written evidence for the image, along with detailed analysis of the history of the image. Guscin deftly seperates fact from legend, for while the story of King Agbar is certainly mythical, an image of some sort did definitely exist by the mid tenth century when it was translated to Constantinople.
The manuscript source for the Old English versions of two biblical apocrypha, The Gospel of Nichodemus and The Avenging of the Saviour.
The essays collected in The Selfless Ego propose an innovative approach to one of the most fascinating aspects of Tibetan literature: life writing. Departing from past schemes of interpretation, this book addresses issues of literary theory and identity construction, eluding the strictures imposed by the adoption of the hagiographical master narrative as synonymous with the genre. The book is divided into two parts. Ideally conceived as an 'introduction' to traditional forms of life writing as expressed in Buddhist milieus, Part I. Memory and Imagination in Tibetan Hagiographical Writing centres on the inner tensions between literary convention and self-expression that permeate indigenous hagiographies, mystical songs, records of teachings, and autobiographies. Part II: Conjuring Tibetan Lives explores the most unconventional traits of the genre, sifting through the narrative configuration of Tibetan biographical writings as 'liberation stories' to unearth those fragments of life that compose an individual’s multifaceted existence. This volume is the first to approach Tibetan life writing from a literary and narratological perspective, encompassing a wide range of disciplines, themes, media, and historical periods, and thus opening new and vibrant areas of research to future scholarship across the Humanities. The chapters in this book were originally published as two special issues of Life Writing.
According to legend, the Mandylion was an image of Christ’s face imprinted on a towel, kept in Edessa. This acheiopoieton image (“not made by human hands”) disappeared in the eighteenth century. The first records of another acheiropoieton relic appeared in mid-fourteenth century France: a long linen bearing the image of Jesus’ corpse, known nowadays as the Holy Shroud of Turin. Some believe the Mandylion and the Shroud to be the same object, first kept in Edessa, later translated to Constantinople, France and Italy. Andrea Nicolotti traces back the legend of the Edessean image in history and art, focusing especially on elements that could prove its identity with the Shroud, concluding that the Mandylion and the Shroud are two distinct objects.
Focusing on mosaics, sculpture, paintings, jewelry, and silk, the author examines this artistic style as an expression of religious thought
This book scientifically challenges earlier radiocarbon testing and presents new evidence in determining the Shroud of Turin's true age.
This book uses Pseudo-Dionysius and his mystic theology to explore attitudes and beliefs about images in the early medieval West and Byzantium. Composed in the early sixth century, the Corpus Dionysiacum, the collection of texts transmitted under the name of Dionysius the Areopagite, developed a number of themes which have a predominantly visual and spatial dimension. Pseudo-Dionysius’ contribution to the development of Christian visual culture, visual thinking and figural art-making are examined in this book to systematically investigate his long-lasting legacy and influence. The contributors embrace religious studies, philosophy, theology, art, and architectural history, to consider the depth of the interaction between the Corpus Dionysiacum and various aspects of contemporary Byzantine and western cultures, including ecclesiastical and lay power, politics, religion, and art.