Download Free The Ecumenical Work Of The Icon Book in PDF and EPUB Free Download. You can read online The Ecumenical Work Of The Icon and write the review.

The Ecumenical Work of the Icon is an invitation to the students and faculties of Catholic seminaries to be a part of the tradition of the icon through the lens of ecumenis. With a view of ecumenism as lived in both the Roman Catholic and Orthodox traditions, the visual theological language of the icon may be engaged more fully and respectfully, thus enriching the theological education and future ministry of those who learn and teach in a Catholic setting. In the third portion of the book, readers are offered multiple practical pedagogical examples of how to integrate teaching and learning about the icon into seminary courses and beyond, including writing assignments, oral presentations, and hands-on activities.
Within the Eastern tradition of Christianity, the eikon, or religious image, has long held a place of honor. In the greater part of Western Christianity, however, discomfort with images in worship, both statues and panel icons, has been a relatively common current, particularly since the Reformation. In the Roman Catholic Church, after years of using religious statues, the Second Vatican Council’s call for “noble simplicity” in many cases led to a stripping of images that in some ways helped refocus attention on the eucharistic celebration itself but also led to a starkness that has left many Roman Catholics unsure of how to interact with the saints or with religious images at all. Today, Western interest in panel icons has been rising, yet we lack standards of quality or catechesis on what to do with them. This book makes the case that icons should have a role to play in the Western Church that goes beyond mere decoration. Citing theological and ecumenical reasons, Visel argues that, with regard to use of icons, the post–Vatican II Roman Catholic Church needs to give greater respect to the Eastern tradition. While Roman Catholics may never interact with icons in quite the same way that Eastern Christians do, we do need to come to terms with what icons are and how we should encounter them.
This analysis of the arguments for and against icons presented at the Seventh Ecumenical Council of 787 provides a fresh insight from an Eastern Orthodox point of view into the role of icons as channels communicative of divine life.
This book, newly revised and updated, examines the Eastern Church's theology of icons chiefly on the basis of the acta of the Seventh Ecumenical Council of 787. The political circumstances leading to the outbreak of the iconclast controversy in the eighth century are discussed in detail, but the main emphasis is on the theological arguments and assumptions of the council participants. Major themes include the nature of tradition, the relationship between image and reality, and the place of christology. Ultimately the argument over icons was about the accessibility of the divine. Icons were held by the iconophiles to communicate a deifying grace which raised the believer to participation in the life of God.
"The nature of the icon cannot be grasped by means of pure art criticism, nor by the adoption of a sentimental point of view. Its forms are based on the wisdom contained in the theological and liturgical writings of the Eastern Orthodox Church and are imtimately bound up with the experience of the contemplative life. The present work is the first of its kind to give a reliable introduction to the spiritual background of this art. The introduction into the meaning and language of the icons by Ouspensky imparts to us in an admirable way the spiritual conceptions of the Eastern Orthodox Church which are often so foreign to us, but without the knowledge of which we cannot possibly understand the world of the icon." -- Back cover.
"An annotated translation of the sixth session of the Seventh Ecumenical Council (Nicea, 787), containing the definition of the Council of Constantinople (754) and its refutation, and the definition of the Seventh Ecumenical Council"--Title page.
In this useful guidebook, the authors debunk common misconceptions about Orthodox icons and explain how they might enrich the devotional lives of non-Orthodox Christians.
Icons and the Liturgy, East and West: History, Theology, and Culture is a collection of nine essays developed from papers presented at the 2013 Huffington Ecumenical Institute’s symposium “Icons and Images,” the first of a three-part series on the history and future of liturgical arts in Catholic and Orthodox churches. Catholic and Orthodox scholars and practitioners gathered at Loyola Marymount University to present papers discussing the history, theology, ecclesiology, and hermeneutics of iconology, sacred art, and sacred space in the Orthodox and Catholic traditions. Nicholas Denysenko’s book offers two significant contributions to the field of Eastern and Western Christian traditions: a critical assessment of the status of liturgical arts in postmodern Catholicism and Orthodoxy and an analysis of the continuity with tradition in creatively engaging the creation of sacred art and icons. The reader will travel to Rome, Byzantium, Armenia, Chile, and to other parts of the world, to see how Christians of yesterday and today have experienced divine encounters through icons. Theologians and students of theology and religious studies, art historians, scholars of Eastern Christian Studies, and Catholic liturgists will find much to appreciate in these pages. Contributors: Nicholas Denysenko, Robert Taft, S.J., Thomas M. Lucas, S.J., Bissera V. Pentcheva, Kristin Noreen, Christina Maranci, Dorian Llywelyn, S.J., Michael Courey, and Andriy Chirovsky.
This is the most comprehensive introduction available to the history and theology of the icon, and is the standard text upon which most modern studies of iconography are based. It includes more than the basic theory of the transfiguration of beauty and the sanctification of art. It is a fundamental element in the entire body of Orthodox Tradition. n this two-volume work, author Leonid Ouspensky provides the reader with a deep and serious approach to the mystery of the sacred image. He surveys the development of the sacred art of the Christian East from its beginnings in catacomb art through the iconoclastic controversy of the eighth and ninth century. Drawing especially on the Russian Orthodox tradition, the author studies a large number of texts with care and in great detail. He includes an analysis of the flowering of early Russian iconography, tracing its later development and the state of the art today. The 51 black and white photo illustrations, along with the four-panel foldout and six color plates, will enable the reader to appreciate the Orthodox icon with an informed mind and open heart. Volume I, originally published in 1978, has been updated by the author and contains large sections of new material [Publisher description]
The aim of this book is to demonstrate the presence in the very ancient Eastern Churches of religious images of all kinds (icons, paintings, illuminations), including the representation of Christ, together with the veneration (not the adoration) of icons/images. Presented here are not only the iconographic but also the liturgical-and especially the Christological-dimensions of the icon on the basis of texts used by these four traditions down the centuries. In contrast to the Byzantine Orthodox world which, after a controversy on this subject, officially established the veneration of icons from the time of the Second Council of Nicaea (787) and in 843, these Churches did not experience Iconoclasm. Christine Chaillot is Swiss and Orthodox (Patriarchate of Constantinople). She has published several books on the Orthodox Churches and the Oriental Orthodox Churches. (Series: Studies on Oriental Orthodox Church History / Studien zur Orientalischen Kirchengeschichte, Vol. 55) [Subject: Religious Studies, Christian Studies, History, Iconography]