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.

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.

This is the most comprehensive introduction available to the history and theology of the icon, and is the standard text upon which most modern studies of iconography are based. It includes more than the basic theory of the transfiguration of beauty and the sanctification of art. It is a fundamental element in the entire body of Orthodox Tradition. n this two-volume work, author Leonid Ouspensky provides the reader with a deep and serious approach to the mystery of the sacred image. He surveys the development of the sacred art of the Christian East from its beginnings in catacomb art through the iconoclastic controversy of the eighth and ninth century. Drawing especially on the Russian Orthodox tradition, the author studies a large number of texts with care and in great detail. He includes an analysis of the flowering of early Russian iconography, tracing its later development and the state of the art today. The 51 black and white photo illustrations, along with the four-panel foldout and six color plates, will enable the reader to appreciate the Orthodox icon with an informed mind and open heart. Volume I, originally published in 1978, has been updated by the author and contains large sections of new material [Publisher description]

The crossroad position of this small town in Southern Bulgaria turned it into a natural bridge between the South and the North on the Balkans, into a link between the different ethnoses and traditions. This album describes a large group of icons from Melnik and Melnik region dated in the period 15th-19th centuries.

This handbook is an in depth introduction to the theory and practice of Byzantine icon painting in egg tempera. The aim is to help all students aspire to create icons that are both sound theologically while being aesthetically beautiful. This volume focuses on the Face of Christ, especially in the Mandolin icon, and covers all the basics of icon painting. Subsequent volumes are planned which will look at the figure and the Kyykotissa icon, the design of festal icons, backgrounds and buildings . This handbook uses dozens of precisely chosen, clear illustrations, gives precise recipes for colours and mixtures, provides step by step instructions to follow, and links directly to video demonstrations which show some of the most difficult processes close up. It puts the practical aspects of icon painting in a clear historical and theological framework, introducing the application of the timeless principles on which the aesthetics of icon painting are built. As art for the Church's Liturgy, icon painting calls for the highest aesthetic standards and this book aims to help make that achievable for the average committed student. Icon painting is presented here as a vocation, rather than a hobby or an interesting artistic technique though this handbook will be of interest to anyone drawn to the world of the Byzantine liturgy and its icons. By encouraging students to do more than simply copy good examples from the past but to understand how the medieval Christian artist understood what he or she was doing and how they put that into practice, this handbook brings the world of the Byzantine artist back to life. Icon painting is opened up as a living art form for today's Church. The author, who has theology degrees from Oxford University and Heythrop College in London, has many years of icon teaching experience, founding the Bethlehem Icon School in 2010 at the Emmanuel Greek Catholic Monastery in Bethlehem, where he continues to teach from time to time. This handbook began as handouts for his students on the Prince's School of Traditional Arts icon painting course, while that was being run at the Bethlehem Icon Centre in Palestine, and has finally emerged as a companion to the online Academy Course in Icon Painting and for members of the Arbor Vitae Icon Academy which the author established during the Covid pandemic.

"A collection of essays by eleven scholars of Russian history, art, literature, cinema, philosophy, and theology that track key shifts in the production, circulation, and consumption of the Russian icon from Peter the Great's Enlightenment to the post-Soviet revival of the Orthodox Church"--Provided by publisher.

Are Eastern Orthodoxy and evangelicalism at all compatible? To some Western evangelicals, the practices of Eastern Orthodoxy seem mysterious and perhaps even unbiblical. From an Orthodox perspective, evangelicals lack the spiritual roots provided by centuries-old church traditions. Are the differences between these two branches of Christianity as sharp as they seem? Or is there room for agreement? This book allows five leading authorities to present their different views in a respectful manner, have them critiqued by their fellow authors, and then respond to those critiques. Writing from an Orthodox perspective with a strong appreciation for evangelicalism, Bradley Nassif makes a case for compatibility. Michael Horton and Vladimir Berzonsky take the opposite stance from their respective evangelical and Orthodox backgrounds. And George Hancock-Stefan (evangelical) and Edward Rommen (Orthodox) each offer a qualified "perhaps." The interactive Counterpoints forum is ideal for comparing and contrasting the different positions to understand the strengths and weaknesses of these two important branches of Christianity and to form a personal conclusion regarding their compatibility.

Destruction of temples and their transformation into churches are central symbols of late antique change in religious environment, socio-political system, and public perception. Contemporaries were aware of these events’ far-reaching symbolic significance and of their immediate impact as demonstrations of political power and religious conviction. Joined in any “temple-destruction” are the meaning of the monument, actions taken, and subsequent literary discourse. Paradigms of perception, specific interests, and forms of expression of quite various protagonists clashed. Archaeologists, historians, and historians of religion illuminate “temple-destruction” from different perspectives, analysing local configurations within larger contexts, both regional and imperial, in order to find an appropriate larger perspective on this phenomenon within the late antique movement “from temple to church”.