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.
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'.
How do the arts in worship form individuals and communities? Every choice of art in worship opens up and closes down possibilities for the formation of our humanity. Every practice of music, every decision about language, every use of our bodies, every approach to visual media or church buildings forms our desires, shapes our imaginations, habituates our emotional instincts, and reconfigures our identity as Christians in contextually meaningful ways, generating thereby a sense of the triune God and of our place in the world. Glimpses of the New Creation argues that the arts form us in worship by bringing us into intentional and intensive participation in the aesthetic aspect of our humanity—that is, our physical, emotional, imaginative, and metaphorical capacities. In so doing they invite the people of God to be conformed to Christ and to participate in the praise of Christ and in the praise of creation, which by the Spirit’s power raises its peculiar voice to the Father in heaven, for the sake of the world that God so loves.
He lost his wealth. He lost his family. He lost his station.He endured it all . . . too gain EVERYTHING.Roman Commander Placidas was a man of great power and influence. He and his family wanted for little, yet he knew there had to be more to life. Once baptized into the Christian faith as Eustathius, he faced trials beyond anything he had ever experienced on the battlefield. His faith was challenged, but that same faith gained him eternal life. Meet this great man in Ancient Faith Publishing's first graphic novel--the first in our Among the Saints series--written to inspire both children and adults.
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.
What book of the Old or New Testament has generated the most commentaries in the history of the Church? Not John?s Gospel, not Paul?s letter to the Romans, not the prophet Isaiah, no, it is the Song of Songs. It is a book that is unknown to many Catholics, and shocking to those who discover it for the first time because of its descriptions of a lover and his beloved God is only mentioned once and that is at the very end. And yet the greatest of the Fathers have commented on it. Origen?s is the classic and St. Jerome says of it: ?Origen, having surpassed all of the interpreters of all the books of Scripture, surpassed himself in this interpretation of the Canticle.? St. Bernard of Clairvaux, St. Francis de Sales, St. John of the Cross, all have added to the great tradition of interpreting this book for they see it as God?s love for Israel and the Church, Christ?s love for Mary, for the Church, and for each of us. The author draws on all these classics of Catholic tradition to give us a verse by verse reading of the Song of Songs which will deepen the spiritual lives of all of us a deepening rooted in God?s word and the most profound Catholic tradition.
Today's world demands an integrated attitude and vision toward all of life--an approach embraced and enhanced by the contributors to Earth, Wind, and Fire. In this scholarly and passionate work members of the Feminist Hermeneutics Task Force of the Catholic Biblical Association orchestrate an approach to understanding a feminist model of creation that is faithful to biblical tradition and celebrates the rich diversity of all creation. Inviting conversation between Bible and theology, feminist scholars and theologians, the contributing writers explore themes such as the significance of embodiment, the integrity of creation, the interconnectedness of humanity with other creatures, the evolutionary nature of creation, and integral connections between creation and salvation, ecojustice and human liberation. Both detailed and holistic, Earth, Wind, and Fire is a compelling, insightful, and reader-friendly approach to the creative artistry of God. Chapters and contributors are: Creation, Evolution, Revelation, and Redemption: Connections and Intersections by Carol J. Dempsey, O.P.; The Priestly Creation Narrative: Goodness and Interdependence" by Alice L. Laffey; Everyone Called By My Name: Second Isaiah's Use of the Creation Theme by Joan E. Cook, SC; Wild, Raging Creativity: Job in the Whirlwind by Kathleen M. Connor; Soundings in the New Testament Understandings of Creation by Barbara E. Bowe, RSCJ; Sabbath: the Crown of Creation by Barbara E. Reid, OP; Creation Restored: God's Basileia, the Social Economy, and the Human Good by Tatha Wiley; The Samaritan Woman and Martha as Partners with Jesus in Ministry: Recreation in John 4 and 11 by Judith Schubert, RSM; All Creation Groans in Labor: Paul's Theology of Creation in Romans 8:18-23 by Sheila E. McGinn; Of New Songs and An Open Window; by Mary Ann Donovan, SC; Being a New Creation (2 Corinthians 5:17) is Being the Body of Christ: Paul and Feminist Scholars in Dialogue by Mary Margaret Pazdan, OP; Creation in the Image of God and Wisdom Christology by Mary Catherine Hilkert, OP; Also includes a Prologue and Epilogue by Carol J. Dempsey, OP, and Mary Margaret Pazdan, OP, a Bibliography, and Indexes.
Generously illustrated in full colour, this book explores the varied responses by several Aboriginal artists, and groups of Aboriginal artists, across Australia to the Christian message, its relevance to their traditional culture and their firmly held beliefs. The result is a revealing insight into the depth of understanding of the Gospels by the artists and the important relevance this understanding has to Australian spirituality today.
