An exploration of how works of visual art are integral to the celebration of the liturgy.

Originally presented as the author's thesis (doctoral)--University of Illinois at Urbana-Champaign, 2002.

This volume seeks to address the needs of teachers and advanced students who are preparing classes on the Middle Ages or who find themselves confounded in their studies by reference to the various liturgies that were fundamental to the lives of medieval peoples. In a series of essays, scholars of the liturgy examine The Shape of the Liturgical Year, Particular Liturgies, The Physical Setting of the Liturgy, The Liturgy and Books, and Liturgy and the Arts. A concluding essay, which originated in notes left behind by the late C. Clifford Flanigan, seeks to open the field, to examine liturgy within the larger and more inclusive category of ritual. The essays are intended to be introductory but to provide the basic facts and the essential bibliography for further study. They approach particular problems assuming a knowledge of medieval Europe but little expertise in liturgical studies per se.

The Liturgy Documents, Volume Four includes supplemental liturgical document which are necessary for the smooth execution of parish devotions and provide grounding for ongoing liturgical formation and catechesis. This volume includes Vatican documents from Pope John Paul II and Pope Benedict XVI as well as documents from the United States Conference of Catholic Bishops.

Volume two of Theorizing Rituals mainly consists of an annotated bibliography of more than 400 items covering those books, edited volumes and essays that are considered most relevant for the field of ritual theory. Instead of proposing yet another theory of ritual, the bibliography is a comprehensive monument documenting four decades of theorizing rituals.

This book contributes to the re-emerging field of 'theology through the arts' by proposing a way of approaching one of the most challenging theological concepts - divine timelessness - through the principle of construction of space in the icon. One of the main objectives of this book is to discuss critically the implications of 'reverse perspective', which is especially characteristic of Byzantine and Byzantining art. Drawing on the work of Pavel Florensky, one of the foremost Russian religious philosophers at the beginning of the 20th century, Antonova shows that Florensky's concept of 'supplementary planes' can be used productively within a new approach to the question. Antonova works up new criteria for the understanding of how space and time can be handled in a way that does not reverse standard linear perspective (as conventionally claimed) but acts in its own way to create eternalised images which are not involved with perspective at all. Arguing that the structure of the icon is determined by a conception of God who exits in past, present, and future, simultaneously, Antonova develops an iconography of images done in the Byzantine style both in the East and in the West which is truer to their own cultural context than is generally provided for by western interpretations. This book draws upon philosophy, theology and liturgy to see how relatively abstract notions of a deity beyond time and space enter images made by painters.

This reference work incorporates the insights and expertise of leading liturgists and scholars of liturgy at work today, comprising 200 entries on important topics in the field, from vestments and offertories to ordination and divine unction. It is systematically organized and alphabetically arranged for ease of use. It also includes comprehensive bibliographies and reading lists, to bring the work fully up to date and to encourage further reading and research.

What is the Church? Some would answer this question by studying the Scriptures, the history of the Church, and contemporary theologians, thus addressing the theological nature of the Church. Others would answer based on statistics, interviews, and personal observation, thus focusing on the experience of the Church. These theological and experiential perspectives are in tension, or at times even opposed. Whereas the first might speak about the local church as the diocese gathered in the Liturgy presided over by its bishop, the latter would describe the local church as the parish community celebrating the Liturgy together with the parish priest, never experiencing a sole liturgy that gathers an entire diocese around its bishop. Whereas a theologian might abstractly describe the Church as a reflection of the Trinity, a regular church-member might concretely experience the Church as a community that manifests the Kingdom of God in its outreach ministries. Radu Bordeianu attempts to bring these two perspectives together, starting from the concrete experience of the Church, engaging this experience with the theological tradition of the Church, extracting ecclesiological principles from this combined approach, and then highlighting concrete situations that reflect those standards or proposing correctives, when necessary. Without pretending to be a complete Orthodox ecclesiology, Icon of the Kingdom of God addresses the most important topics related to the Church. It progresses according to one's experience of the Church from baptism, to the family, parish, Liturgy, and priesthood, followed by analyses of synodality and nationality. Arguing that the Church is an icon of the Kingdom of God, this volume brings together the past theological heritage and the present experience of the Church while having three methodological characteristics: experiential, Kingdom-centered, and ecumenical.

Is the display of number and geometry in medieval religious architecture evidence of intended symbolism? This book offers a new perspective in the retrieval of meaning from architecture in the Greek East and the Latin West, and challenges the view that geometry was merely an outcome of practical procedures by masons. Instead, it attributes intellectual meaning to it as understood by Christian Platonist thought and provides compelling evidence that the symbolism was often intended. In so doing, the book serves as a companion volume to The Wise Master Builder by the same author, which found the same system implicit in plans of cathedrals and abbeys. The present book explains how the architectural symbolism proposed could have been understood at the time, as supported by medieval texts and its context, since it is context that can confer specific meaning. The introduction locates the study in its critical context and summarizes Christian Platonism as it determined the meaning of number and geometry. The investigation opens with the recurrent symbolism of the dome and the cube as heaven and earth in the Byzantine world and moves to the duality of the temple and the body in the East and West as reflections of Plato's universal macrocosm and human microcosm. The study then examines each of the figures of Platonic geometry in the architecture of the West against the background of their mathematics and metaphysics, before proceeding to their synthesis with the circle, as seen in circular and polygonal structures, the divisions of circles in Christian art, and their display in window tracery, culminating in the rose window. In view of the multivalency of the symbolism, the investigation establishes systematic occurrences of it, which strongly suggest patterns of thought underlying systems of design. The book concludes with a series of test cases, which show the after-life of the same symbolism as it overlapped with the Renaissance.

Byzantine and Russian Orthodox icons are perhaps the most enduring form of religious art ever developed--and one of the most mysterious. This book provides an accessible guide to their story and power. Illustrated mostly with Cretan, Greek, and Russian examples from the British Museum, which houses Britain's most important collection, the book examines icons in the context of the history of Christianity, as well as within the perspective of art history.