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.

In The Uneasy Center, distinguished intellectual historian Paul Conkin offers the first comprehensive examination of mainline Protestantism in America, from its emergence in the colonial era to its rise to predominance in the early nineteenth century and

Byzantine art has been an underappreciated field, often treated as an adjunct to the arts of the medieval West, if considered at all. In illustrating the richness and diversity of art in the Byzantine world, this handbook will help establish the subject as a distinct field worthy of serious inquiry. Essays consider Byzantine art as art made in the eastern Mediterranean world, including the Balkans, Russia, the Near East and north Africa, between the years 330 and 1453. Much of this art was made for religious purposes, created to enhance and beautify the Orthodox liturgy and worship space, as well as to serve in a royal or domestic context. Discussions in this volume will consider both aspects of this artistic creation, across a wide swath of geography and a long span of time. The volume marries older, object-based considerations of themes and monuments which form the backbone of art history, to considerations drawing on many different methodologies-sociology, semiotics, anthropology, archaeology, reception theory, deconstruction theory, and so on-in an up-to-date synthesis of scholarship on Byzantine art and architecture. The Oxford Handbook of Byzantine Art and Architecture is a comprehensive overview of a particularly rich field of study, offering a window into the world of this fascinating and beautiful period of art.

In this book, the background of the revealed, diptych, ecumenical icon of the Divine Heart of God the Father Encompassing All Hearts is presented, together with the related Consecration (Seal) Prayer to the Almighty Father. The icon apologia and canon are elucidated. The ecumenical importance of the icon of the Divine Heart for the universal Church is addressed, together with the basis for the icon in Sacred Scripture and Tradition, as well as its meaning for our present times and eschatological future. The aims of the icon, history of God the Father in iconography, and pertinent Church Council decrees are explored. The history of the first icon of the Eternal Father in the Catholic Church is given, with evidence of the Divine Paternal Heart, including Scriptural evidence, and the history/revelations of this second icon of the Father in the Catholic Church. A summary theology of the Divine Heart icon is outlined, with relevance to the sacred liturgy, Catholic/Orthodox mysticism, the era of the eighth day and deification of man, the universal call to holiness, and the de-Christianization of our times.

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.

In the last decade, Eastern Orthodoxy has moved from being virtually unknown to Western Christians to being a significant presence on the religious scene in North America and Great Britain. In light of Orthodoxy's growing presence, this book will introduce Western Christians to the Eastern Orthodox vision of the Christian life by examining Orthodox theology and worship and will also alert readers to the cultural and historical factors that shape any interpretation of the Christian faith.

The Oxford Handbook of Christology brings together 40 authoritative essays considering the theological study of the nature and role of Jesus Christ. This collection offers dynamic perspectives within the study of Christology and provides rigorous discussion of inter-confessional theology, which would not have been possible even 60 years ago. The first of the seven parts considers Jesus Christ in the Bible. Rather than focusing solely on the New Testament, this section begins with discussion of the modes of God's self-communication to us and suggests that Christ's most original incarnation is in the language of the Hebrew Bible. The second section considers Patristics Christology. These essays explore the formation of the doctrines of the person of Christ and the atonement between the First Council of Nicaea in 325 and the eve of the Second Council of Nicaea. The next section looks at Mediaeval theology and tackles the development of the understanding of who Christ was and of his atoning work. The section on 'Reformation and Christology' traces the path of the Reformation from Luther to Bultmann. The fifth section tackles the new developments in thinking about Christ which have emerged in the modern and the postmodern eras, and the sixth section explains how beliefs about Jesus have affected music, poetry, and the arts. The final part concludes by locating Christology within systematic theology, asking how it relates to Christian belief as a whole. This comprehensive volume provides an invaluable resource and reference for scholars, students, and general readers interested in the study of Christology.

Featuring the one author, one voice approach, this text is ideal for instructors who do not wish to neglect the importance of non-Western perspectives on the study of the past. The book is a brief, affordable presentation providing a coherent examination of the past from ancient times to the present. Religion, everyday life, and transforming moments are the three themes employed to help make the past interesting, intelligible, and relevant to contemporary society.