This book explores the areas of perspective, proportion, witness and theological threshold in the devotional art of the Italian Renaissance, with particular reference to the painted image of Christ. While the Incarnation, in a very real way, legitimised the idea of the portrayal of God in human form (as Jesus Christ), problems remained as to how this might be achieved and whether it should be restricted to the second person of the Holy Trinity. This book looks at the creation of pictorial space and the presentation of the image – paying special attention to schemes of perspective, as a way to better describe reality, as well as to considerations of proportion through such geometric methodology as the Golden Section and dynamic root-rectangles (based on certain ‘perfect’ or divine ratios) to balance and harmonise form. The Word Made Visible in the Painted Image also explores the theological theme of threshold and liminal space, describes how themes such as the Incarnation and Revelation were represented, and looks at the symbolism employed in so doing. It shows how such themes were captured, set in space and communicated in the painted image. This study is necessarily interdisciplinary, combining the subject areas of art history and theory, theology, biblical study, philosophy, aesthetics, physics, metaphysics, mathematics, geometry, optics, physiology, psychology, and sociology, in greater and lesser degrees. Few books take such an interdisciplinary stance on art, theology, science and related disciplines to this extent.

Both collectively and individually we have a deep and abiding fascination with angels. This book explores depictions of angels in the visual arts and in scripture and associated apocryphal and mystical writings, specifically in the Hebrew and Christian Bibles and Islamic, Zoroastrian and other ancient and latter-day accounts. It examines the visual clues, artistic conventions and attributes that have been set down to help us to recognise angels in their particular roles and functions. Certain writings have had a particularly influential bearing on our understanding of angels. This text focuses on the hierarchies and orders proposed by the likes of Pseudo-Dionysius, St. Thomas Aquinas and others. In a new age of fascination with the metaphysical and supernatural (in film, television, popular mythology and literature), are we cementing or losing our connection with the authentic meaning and purpose that such vibrant and energised beings bring to our table? This book contains more than 30 illustrations in a central colour plates section. It also includes a useful glossary of terms and will prove a rich and enduring reference resource for libraries, as well as a stimulating go-to source for those interested in the world of angels and how human sensibilities and imaginative reasoning have enriched the subject, as a starting point for interreligious dialogue.

This beautifully illustrated monograph, including more than 50 colour plates of the artist’s work—most of which appear here for the first time—is the first critical study of the work of the artist Stephen Cook (born 1952), and will serve as both an introduction to, and analysis of, his output in the context of a tradition of figurative art in post-war Britain. The scrutiny of the subjects of these paintings point to a representation of a reality outside of the flux of things and of our everyday experience, albeit one that is derived from the immediately recognisable natural world. This is achieved not only through a method of close observation, but through the rigour of the application of that observation.

"This book centers on The Gospel of the Lots of Mary, a previously unknown text preserved in a fifth- or sixth-century Coptic miniature codex. It presents the first critical edition and translation of this new text. My book is also a project about religious praxis and authority, as I situate the manuscript within the context of practices of and debates around divination in the ancient Mediterranean world."--Preface, p. [vii].

The early chroniclers of Britain presented the island as the promised land of the Roman goddess Diana. Later, when the story of Arthur was transformed by Christian mythology, a new literary concept of the island was promoted: the promised land of the Holy Grail. As the feminine enchantment of the Goddess gave way to the masculine crusade of the Grail Quest, the otherworld realms of the fays or fairy women were denigrated in favor of the heavenly afterlife. The dualism of the medieval authors was challenged by modern writers such as Blake and Tolkien, as well as by the scholars of the Eranos conferences. This book explores the conflict between Goddess and Grail--a rift less about paganism versus Christianity than about religious literalism versus spiritual imagination--which is resolved in the figure of Sophia (Divine Wisdom).

Docent Juliet Benner began showing people how to meditate on Christian art treasures, which led to her much-beloved "O Taste and See" columns from the spiritual formation journal Conversations, now expanded into this book. In each chapter you'll encounter a passage of Scripture and a corresponding piece of art to lead you in a new experience of prayer in God's presence.

The doctrine of the Incarnation was wellspring and catalyst for theories of images verbal, material, and spiritual. Section I, “Representing the Mystery of the Incarnation”, takes up questions about the representability of the mystery. Section II, “Imago Dei and the Incarnate Word”, investigates how Christ’s status as the image of God was seen to license images material and spiritual. Section III, “Literary Figurations of the Incarnation”, considers the verbal production of images contemplating the divine and human nature of Christ. Section IV, “Tranformative Analogies of Matter and Spirit”, delves into ways that material properties and processes, in their effects on the beholder, were analogized to Christ’s hypostasis. Section V, “Visualizing the Flesh of Christ”, considers the relation between the Incarnation and the Passion.

"Robert Stamps offers us a compelling case for the significance of the theology of Thomas Torrance to current discussions about Trinitarian doctrine and worship. He shows that Torrance's Christology and Eucharistic thought validates the Reformed confession of a profound, real spiritual presence in the Eucharist. This book serves as a helpful introduction to Torrance, especially his framing of revelation. Moreover, it invigorates our understanding of the theological meaning of sacramental devotion. Its readers will be stimulated, provoked, and, dare I say, inspired by its insights into--and critiques of--one of the most important and recent Reformed thinkers. In sum, this is a timely and exciting book. It will well serve pastors, theologians, and thoughtful Christians of many theological perspectives." MARK VALERI, E. T. Thompson Professor of Church History, Union Theological Seminary, Virginia "One of the values of this work is that it has deliberately sought not so much to discuss a particular problem or a collection of issues as to identify Torrance as an example of an archetypal Reformed theology of the Eucharist. To say that Dr. Stamps has been industrious is patently an understatement: the truth is that he has been indefatigable in his search for the least morsel that Torrance offers. Yet it is not so much as a study of Torrance that this book is to be commended: its great value is that it offers a contextualization of Torrance's thinking on the Eucharist--in ecclesiology, the more general dimension of an incarnational theology--as well as his understanding of cosmology and epistemology. . . . I hope that Dr. Stamps' book will not only find grateful readers but will be repaid by profound reflection on this symbol of the heart of faith." JOHN HEYWOOD THOMAS, Emeritus Professor of Theology, University of Nottingham

This volume critically engages with the question of cultural difference and the idea of living with diversity in the context of India and Europe. It looks at certain essential European categories of learning such as art, nature, the human, literature, relation, philosophy, and the humanities and analyses texts from Sanskrit language (through Telugu resources) to argue that categories like prakriti, loka, jati, dharma, karma, sahitya, kala,etc. cannot be conflated with conceptual formations such as nature, world, caste, religion, (sanctioned) action, literature and art respectively. The book questions and unravels the efficacy of European concepts, theories and interpretive frames in understanding Indian reflective traditions and cultural forms. It also lays the groundwork for reorienting teaching and research in universities in the humanities on the basis of key cultural differences. By focusing on major themes in the humanities discourse and their limitations, the work engages with the writings of Heidegger, Derrida and Agamben, among others, from radically new vantage points of Sanskrit-Indian reflective traditions, and challenges prevailing ideas about Indian art, literature and culture. Part of the Critical Humanities Across Cultures series, this book will be an essential read for scholars and researchers of Indian languages and literature, comparative literature, art and aesthetics, postcolonial studies, cultural and heritage studies, philosophy, political philosophy, comparative philosophy, Sanskrit studies, India studies, South Asian studies, Global South studies, and for those working on education in the humanities/human sciences.

This collection of Mary icons captures the great mystery of the Madonna drawing attention to the relationship between Mary and Christ, and the viewer. Orthodox iconography about the motherhood imagery explores the physical relationship, and an unspoken communication of love. Her divine honesty and understanding, respect and responsibility, knowledge and acceptance, pride and joy in her son. Mary the mother of Jesus is portrayed through art more often in the Christian Community than any other image in history. The world of art has still not surpassed the images of motherhood contained in Byzantine iconography. Each of 18 original egg tempera paintings are Contemporary images, inspired by ancient Orthodox icons. The text and image includes a small image in the corner of each page to compare today with the image from history. Miller has merged her fascination between tradition and interpretation in one book for contemporary spirituality. Each of these amazing icons is accompanied by a short meditation on the iconography. This art book is a must have for anyone who loves Mary the Mother of Christ and/or Madonna Images which capture the great mystery of her unending love. Since the time of Christ, Mary hascommunicated unspoken knowledge, acceptance, pride, joy and love found in the feminine experience of motherhood.