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The book gives an account of various movements in art and their relation to the visual and in churches and in liturgy, for example the Franciscan movement, different approaches to the crucifixion, and the restoration of creation. It recovers the links between the cross and creation, and relates the baptismal covenant to a commitment to care for creation.
The book gives an account of various movements in art and their relation to the visual and in churches and in liturgy, for example the Franciscan movement, different approaches to the crucifixion, the restoration of creation. It recovers the links between the cross and creation, and relates the baptismal covenant to a commitment to care for creation. Includes a 4-page colour plate section.
In this book, Beatrice E. Kitzinger explores the power of representation in the Carolingian period, demonstrating how images were used to assert the value and efficacy of art works. She focuses on the cross, Christianity's central sign, which simultaneously commemorates sacred history, functions in the present, and prepares for the end of time. It is well recognized that the visual attributes of the cross were designed to communicate its theology relative to history and eschatology; Kitzinger argues that early medieval artists also developed a formal language to articulate its efficacious powers in the present day. Defined through form and text as the sign of the present, the image of the cross articulated the instrumentality of religious objects and built spaces. Whereas medieval and modern scholars have pondered the theological problems posed by representation, Kitzinger here proposes a visual argument that affirms the self-reflexive value of art works in the early medieval West. Introducing little-known sources, she re-evaluates both the image of the cross and the project of book-making in an expanded field of Carolingian painting.
The T&T Clark Handbook of the Doctrine of Creation provides an expansive range of resources introducing the doctrine of creation as understood in Christian traditions. It offers an examination of: how the Bible and various Christian traditions have imagined creation; how the doctrine of creation informs and is informed by various dogmatic commitments; and how the doctrine of creation relates to a range of human concerns and activities. The Handbook represents a celebration of, fascination with, bewilderment at, lament about, and hope for all that is, and serves as a scholarly, innovative, and constructive reference for those interested in attending to what Christian belief has to contribute to thinking about and living with the mysterious existence named 'creation'.
This is an imaginative exploration of the art of David Jones which addresses Christian teaching through engagement with selected artistic works: a poem, a painted inscription and a wood engraving. Elizabeth R. Powell's study does not just enable readers to understand Jones but also to use his kind of loving attention in their own lives – which, Jones would argue, is theology's most important task. Through close readings of material objects, Powell draws the reader into the participatory, performative and dialogical possibilities of the craft of theology. She frames an older style of theology in a distinctive and modern way, as a graced human practice and a place of transforming relation with the divine. Powell argues that Jones's art works offer places of beauty in which to 'become beauty' along the way. Located at the cross-section of theology, literature and the arts, this volume shows that being interdisciplinary is nothing less than finding ways for theology and humanity to be more richly itself.
The Cross was present at the Eucharist in early Christianity as an idea, a gesture, and an object. Over time, these different actualizations of the quintessential symbol of Christianity have generated important questions about their meaning and function, among them: is the Eucharist a meal and/or a sacrifice? Can the sign of the Cross illuminate the absence of a Roman epiclesis? Is it pertinent -historically and theologically - to use an altar Cross? In this study, Daniel Cardó explores the relation between the Cross and the Eucharist. Offering a thorough and fresh reading of patristic and Roman liturgical texts, he identifies their emphases and common themes on the Cross and the Eucharist, and demonstrates their significance for the liturgical debates of recent decades.
A Time for Creation encourages us to praise God for his creation, take responsibility for our actions, repent of our misuse of natural resources and hear the voice of creation itself in our prayer. Drawing together texts from Common Worship with newly commissioned material, it offers liturgies for all times and occasions when there is a focus on creation - in daily prayer, services of the word, school assemblies, eucharistic celebrations and seasonal services to mark the agricultural year. It has been compiled by the Liturgical Commission of the Church of England and is designed to provide its parishes, schools and chaplaincies with a rich selection of resources for worship and prayer.
In Introduction to Eastern Christian Liturgies, renowned liturgical scholars Stefanos Alexopoulos and Maxwell E. Johnson fulfill the need for a new, comprehensive, and straightforward survey of the liturgical life of the Eastern Christian Churches within the seven distinct liturgical Eastern rites still in existence today: Armenian, Byzantine, Coptic, Ethiopic, East Syrian, West Syrian, and Maronite. This topical overview covers baptism, chrismation, Eucharist, reconciliation, anointing, marriage, holy orders, burial, Liturgy of the Hours, the liturgical year, liturgical ethos and spirituality, and offers a brief yet comprehensive bibliography for further study. This book will be of special interest to masters-level students in liturgy and theology, pastoral ministers seeking an introduction to the liturgies of the Christian East, and all who seek to increase their knowledge of the liturgical riches of the Christian East.
A historical perspective of the image of the cross as one of life instead of death What would Christianity be like if the principle of a new creation were its guiding idea, and the Cross as Life-Giving Tree its central image? After exploring this principle’s deep roots in tradition, worship, and art, this book proposes Hildegard of Bingen’s concept of virditas—“green-ness”—as a way to know it in daily life. It claims the Cross as healer of division, both among followers of Jesus and among the nations. Holy Cross, Life-Giving Tree is illustrated with Cross images from throughout the Christian world and compares eastern Christian liturgies of the Cross with those of the west. It recounts the origins of the early Jerusalem cult of the Cross, and invites readers to meditate on Scripture passages used by ancient artists. Each of its six chapters ends with reflection questions for going deeper. Holy Cross, Life-Giving Tree is designed for use by study groups or by individuals.
A vibrant critical exchange between contemporary art and Christianity is being increasingly prompted by an expanding programme of art installations and commissions for ecclesiastical spaces. Rather than 'religious art' reflecting Christian ideology, current practices frequently initiate projects that question the values and traditions of the host space, or present objects and events that challenge its visual conventions. In the light of these developments, this book asks what conditions are favourable to enhancing and expanding the possibilities of church-based art, and how can these conditions be addressed? What viable language or strategies can be formulated to understand and analyse art's role within the church? Focusing on concepts drawn from anthropology, comparative religion, art theory, theology and philosophy, this book formulates a lexicon of terms built around the notion of encounter in order to review the effective uses and experience of contemporary art in churches. The author concludes with the prognosis that art for the church has reached a critical and decisive phase in its history, testing the assumption that contemporary art should be a taken-for-granted element of modern church life. Art and the Church: A Fractious Embrace uniquely combines conceptual analysis, critical case studies and practical application in a rigorous and inventive manner, dealing specifically with contemporary art of the past twenty-five years, and the most recent developments in the church's policies for the arts.