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.

In Orthodox theology both the icon and the name of God transmit divine energies, theophanies, or revelations that imprint God's image within us. In Icons and the Name of God renowned Orthodox theologian Sergius Bulgakov explains the theology behind the Orthodox veneration of icons and the glorification of the name of God. In the process Bulgakov covers two major controversies -- the iconoclastic controversy (sixth to eighth centuries) and the "Name of God" controversy (early twentieth century) -- and explains his belief that an icon stops being merely a religious painting and becomes sacred when it is named. This translation of two essays "The Icon and Its Veneration" and "The Name of God" -- available in English for the first time -- makes Bulgakov's rich thinking on these key theological concepts available to a wider audience than ever before.

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.

Serves as both visual and textual record of the exhibition of the same name, surveying the art of the Middle Byzantine period from the restoration of the use of icons by the Orthodox Church in 843 to the occupation of Constantinople by the Crusader forces from the West from 1204 to 1261. Conceived as a sequel to the 1976 exhibition "Age of Spirituality," which focused on the first centuries of Byzantium. Preceding the catalogue, 17 essays treat the historical context, religious sphere, and secular courtly realm of the empire, and the interactions between Byzantium and other medieval cultures. Abundantly illustrated. Annotation copyrighted by Book News, Inc., Portland, OR

Icon and Devotion offers the first extensive presentation in English of the making and meaning of Russian icons. The craft of icon-making is set into the context of forms of worship that emerged in the Russian Orthodox Church in the mid-seventeenth century. Oleg Tarasov shows how icons have held a special place in Russian consciousness because they represented idealized images of Holy Russia. He also looks closely at how and why icons were made. Wonder-working saints and the leaders of such religious schisms as the Old Believers appear in these pages, which are illustrated in halftones with miniature paintings, lithographs and engravings never before published in the English-speaking world. By tracing the artistic vocabulary, techniques and working methods of icon painters, Tarasov shows how icons have been integral to the history of Russian art, influenced by folk and mainstream currents alike. As well as articulating the specifically Russian piety they invoke, he analyzes the significance of icons in the cultural life of modern Russia in the context of popular prints and poster design.

The sixteen studies in this book include six specially translated from Greek and another two published here for the first time. They deal with the art of painting in Crete at a time when the island was under Venetian rule. The main emphasis is on the 15th century and especially on the painter Angelos. More than thirty icons with his signature survive, and at least twenty more can be reliably attributed to him. Angelos was the most significant artist of a particularly significant era. It was at this time that the centre of artistic production migrated from Constantinople, the capital of the Byzantine Empire to Candia, the capital of Venetian-occupied Crete. These studies try to reconstruct the personality of this late Byzantine painter, Angelos, not only through his icons but also through his will (1436), now in the State Archives in Venice. In this context they also explore the status of the Cretan painter in society. The large number of extant Cretan icons clearly indicates the striking increase in production from the 15th century onwards. Similarly, archival documents are used to examine the trade of icons in Crete and the way Cretan artists had to organize their workshops in order to meet the requirements of the market.

The Orthodox Christian tradition has all too often been sidelined in conversations around contemporary religion. Despite being distinct from Protestantism and Catholicism in both theology and practice, it remains an underused setting for academic inquiry into current lived religious practice. This collection, therefore, seeks to redress this imbalance by investigating modern manifestations of Orthodox Christianity through an explicitly gender-sensitive gaze. By addressing attitudes to gender in this context, it fills major gaps in the literature on both religion and gender. Starting with the traditional teachings and discourses around gender in the Orthodox Church, the book moves on to demonstrate the diversity of responses to those narratives that can be found among Orthodox populations in Europe and North America. Using case studies from several countries, with both large and small Orthodox populations, contributors use an interdisciplinary approach to address how gender and religion interact in contexts such as, iconography, conversion, social activism and ecumenical relations, among others. From Greece and Russia to Finland and the USA, this volume sheds new light on the myriad ways in which gender is manifested, performed, and engaged within contemporary Orthodoxy. Furthermore, it also demonstrates that employing the analytical lens of gender enables new insights into Orthodox Christianity as a lived tradition. It will, therefore, be of great interest to scholars of both Religious Studies and Gender Studies.

The I AM statements exclusive to the Fourth Gospel are seen as the attempt of the author(s) of that Gospel to present the nature and purpose of the earthly life of Jesus by engaging the imaginative faculty of the reader. Succeeding generations of artists are considered as undertaking a similar task by engaging in an imaginative dialogue with the text. There are five narratives that are peculiar to the Fourth Gospel: The Wedding at Cana, the Woman of Samaria, the Woman Taken in Adultery, the Raising of Lazarus, and the Washing of Feet. Five paintings based upon each narrative are considered in context. These are taken from the early fourteenth century (Duccio and Giotto) to the twentieth and twenty-first centuries (Max Beckmann and the contemporary Icon writer, Constantina Wood). A sense of the loss experienced by the western church under the sanctions of the Protestant Reformation against visual imagery is conveyed. This leads to a suggestion that a reassertion of the role of the aesthetics of Christian worship might be a unifying factor for a generation jaded by the pedantry that divides the Christian Church.

St Theodore the Studite's Defence of the Icons provides an investigation of the icon-theology of St Theodore the Studite, mainly as it is presented in his three refutations of the iconoclasts, the Antirrhetici tres adversus iconomachos. Torstein Theodor Tollefsen explores Theodore's 'philosophy of images', namely his doctrine of images and his arguments that justify the legitimacy of images in general and of Christ in particular. Tollefsen offers a historical, theological, and philosophical exploration of Theodore's doctrine of images and his arguments justifying the legitimacy of images and of Christ. In addition to the main elements of Theodore's defence of the icon, like the Christological issue, the relation between image and prototype, the question of veneration, his explanation of why we may say of an image that 'this is Christ', and his innovative thinking on the representative character of the icon, the book has an introduction that places Theodore in the history of Byzantine philosophy: He has some knowledge of traditional logical topics and is able to utilize argumentative forms in countering his iconoclast opponents. The volume also provides an appendix which shows that the making of images is somehow natural given the character of Christianity as a religion.