Death Of Jesus Research Articles

Крест vs Змий. Различия в подходах к интерпретации темы змия и древа (Быт 3; Чис 21; Ин 3. 14) в раннехристианских церковных и в гностических источниках

The article examines the peculiarities and fundamental differences in the approach to the interpretation of a group of biblical narratives, united by the theme of the serpent and the tree, in the exegesis of the Gnostic sects of the "Ophite" (from Greek ophis - "serpent") currents and in Christian typological exegesis. The interpreters who belonged to the Grate Church (as opposed to "heretical" movements) were guided by the text of John 3:14, where Jesus compares Himself to the brazen serpent who had saved the people of Israel in the wilderness from death caused by the bites of poisonous serpents. The correlation of this text with the complex of prophetic "testimonies" about the Saviour "hanging on a tree" allowed them to see in it a reference to Christ's crucifixion. However, the same image of the brass serpent evoked inevitable associations with the story of the temptation of Adam and Eve, which also featured the "tree" and the "serpent". The soteriological doctrine of most Gnostic sects was based on the idea of salvation through "knowledge", so the Gnostics did not share the biblical concept of the Fall of Man, considering the access of Adam and Eve to the fruit of the Tree of Knowledge as a beneficial act and reassessing from this point of view the role of the biblical serpent, which in church sources was associated mainly with the Devil. The most interesting position in this respect was taken by the followers of the sect of "Perates", who regarded the "ancient serpent", the bronze serpent of Moses and Jesus as epiphanies of the divine Son-Logos, i.e. the spiritual Christ. In the biblical story of the Tree of Knowledge they saw the reflection of the conflict between the God-Demiurge together with his subordinate archons, who were hostile to human salvation, and the higher spiritual power acting through the serpent, which was further reproduced in the story of the transformations of the rod of Moses, in the story of the Brazen Serpent, in the story of Joseph and his brothers, and in the story of Jesus, who was crucified by the Jews, the worshippers of the Demiurge. In contrast to the Ophites, the Church exegetes sought to exclude the possibility of establishing a symbolic link between Christ and the serpent of Genesis. Taking the figure of the Brazen Serpent as a type of the Crucifixion, they correlated it not with the image of the Tree of Knowledge, but with the image of the Tree of Life, from which they developed an independent line of types of the Lord's Cross, based on the adjoining motifs of tree-wood and staff-rod, which in turn determined the character of the typology of Baptism, where the two above-mentioned motifs were combined with the motif of water.

An Analysis of Bellini and Weyden’s Artwork on the Death of Jesus as an Icon for Modern People

An Analysis of Bellini and Weyden’s Artwork on the Death of Jesus as an Icon for Modern People

“If You Only Knew How Peaceful I am, How Blessed I am”: The Christian Death of Princess N.V. Shakhovskaya in Rome on December 10/22, 1847

“If You Only Knew How Peaceful I am, How Blessed I am”: The Christian Death of Princess N.V. Shakhovskaya in Rome on December 10/22, 1847

The Concept of Preaching the Gospel According to Paul in the Book of Romans 5:8-11

This article aims to reaffirm the belief in the concept of Gospel proclamation as taught by Paul, especially in the book of Romans 5:8-11, as a motivator for Christians to remain obedient in carrying out the mandate of Gospel proclamation despite the many challenges they face. To address the purpose of this writing, a literature study approach is used, combining exegetical study of the text of Romans 5:8-11. The concept of Gospel proclamation according to Paul is obtained as follows: First: Gospel proclamation is an absolute idea of God in His love; second is the content of Gospel proclamation is about the death of Christ for the redemption of human sins; third is Gospel proclamation is intended for all humanity; fourth is the reward for welcoming the Gospel news is the assurance of justification and eternal life; and fifth is rejection of the Gospel news is making oneself an enemy of God. The theological implications are, first, the motivation for Gospel proclamation is based solely on God's love for humanity; second is the motivation for Gospel proclamation is based on believers' love for God; and third is the motivation for Gospel proclamation is based on believers' love for others.

Spiritualitas Relasional: Antara Dosa Dan Masa Lampau

Sin and the past are two crucial concepts in Christian spirituality that significantly impact an individual’s spiritual life. Sin is defined as a violation of God’s law, resulting in damage and conflict. Meanwhile, the past encompasses the totality of past events and experiences, including sins committed, which can carry emotional and spiritual burdens. Sin separates humans from God, but God forgives through the sacrifice of Jesus on the cross. Handling sin and the past involves confession of sins, repentance, acceptance of forgiveness, learning from the past, and transformation through Christ’s love. Biblical teachings provide guidance in facing sin and the past, encouraging self-forgiveness and forgiveness of others. In daily life, this is applied through worship, spiritual growth, Christian community, meditation, service, and self-awareness. By following these principles, Christians can overcome the challenges posed by sin and the past, attain peace, and experience spiritual growth and restoration of their relationship with God

The idea of Passover in medieval art

Studies on medieval images of the life of Jesus Christ have so far focused either on the narrative perspective of the Christological cycle, presenting in a holistic and synthetic way the life and work of the Saviour, or isolated the Passion cycle revealing the suffering and death of Christ. However, in the Middle Ages there was a clear trend which focused on the events of last days of his life and events following his death. Such events are referred to as the Passover of Christ or the Paschal Mystery. This study is aimed not only to indicate sample presentations of the Passover but also attempts to interpret them.

Persembahan Persepuluhan Menurut Maleakhi 3:6-12

This research discusses the tithe offering according to Malachi 3:6-12, which is one of the topics with a high level of complexity, resulting in various interpretations. Tithing is also a highly sensitive issue in the lives of believers in relation to the church, causing controversies and even divisions. The method used is topical/theological exegesis with an emphasis on contextual-historical analysis. As a result, it is found that tithing is one of God's commands for the nation of Israel who deviated from the Torah law. Regarding the location of tithing, it is the house of God, which in the Old Testament refers to a place within the house of God, but nowadays it can refer to the church, organizations, or individuals in need, not limited to the local church, as long as it is to advance the work of God and not for the personal interests of the recipient. The purpose or result of obedience in giving tithes is gratitude and the glorification of God's name. Tithing represents a discontinuity because believers today do not live under the Torah law, but under the grace of God through the death of Christ.

THE CONCEPT OF PROPITIATION IN OUR UNDERSTANDING OF THE DEATH OF CHRIST

The English word “propitiation” (Greek hilastērion) is not in common theological use today. Modern theology has generally become uneasy with it. The aversion to it is because the idea is associated with the sense of appeasing an angry deity brought in from pagan use and practice. This has resulted in the removal of the traditional translation “propitiation” with many modern English Bible translations preferring “expiation,” or “atoning sacrifice,” or some other general phrase. Thus, for example, while the New King James Version of Romans 3:25 is translated, “whom God set forth as a propitiation,” and the English Standard Version, “whom God put forward as a propitiation,” other modern translations are different. The New International Version is rather, “sacrifice of atonement;” Revised Standard Version has “an expiation by his blood;” Common English Bible, “place of sacrifice;” The Bible in Basic English, “the sign of his mercy.” This article insists that we must not just reject the use of the word propitiation simply because it was wrongly understood in pagan quarters. It conveys something vital when we come to consider what God has done for us in Christ. Until recently, many understood by this word that the death of Christ has effected the removal of the wrath of God and made us the recipients of his mercy. The cross brought satisfaction to violated justice.

Pontius' Conscience: Pilate's Afterlives and Apology for Empire in John Chrysostom's Antioch

Abstract: This article explores apologetic early Christian approaches to Pontius Pilate, demonstrating the popularity of the idea that Pilate was innocent of Jesus's death, regarded Christ as innocent and just, and even became a Christian himself. Focusing on the exceptionally detailed image of the man who condemned Jesus to the cross found in the New Testament homilies of John Chrysostom, this article connects Chrysostom's treatment of Pilate to his interaction with a real-life (and pagan) governor of Syria. It suggests that apologetic interpretations of Pilate were used not merely to denigrate Jews but also to allow Christians who were themselves both Christian and Roman to believe that Rome had witnessed their Messiah—a historical example which proved the congruence of Romanness and Christianity.

Some Questions of Artistic Design of the “New Testament” of 1702 from the Collection of the State Hermitage

This article is devoted to the precious frame of the “New Testament”, which was published in the Moscow Print House in 1702. This book was presented by Stefan Yavorsky to tsarevich Peter Petrovich, who was born on October 28, 1715. After the death of Alexander II (1881), the book was placed in the sacristy of the Great Church of the Winter palace. The small book represents a bright work of the culture of Peter the Great’s time. Its precious decoration should be dated to the time between 1702 and 1715. The gift made to the prince by the Ryazan Metropolitan is connected with the biography of this church hierarch, known primarily as the author of sermons, but also as customer of icons. The date of the presentation of the “New Testament” (November 12, 1715) to Peter Petrovich is close to Stephen’s letter to Peter (November 14), in which the Metropolitan congratulated him on the birth of his son and prayed to let him go to Nizhyn to consecrate the church, “to offer there a sacrifice for the newborn prince”. This is the matter of the main church of the Nizhyn Monastery, founded by Stephen himself. A precious gift, decorated with gems, was supposed to strengthen the petition of the Ryazan Metropolitan. The composition of the frame includes minuscule icons with images of four evangelists and Crucifixion. They were created by one of the best Moscow icon painters from the early 18th century and show him as a great connoisseur of the art of icon painting. Shoulder-mounted images of the evangelists and the Crucifixion of Christ are executed in the traditions of icon painting of the Armory Chamber and belong to the monuments of the leading stylistic trend in Moscow painting of the late 17th — early 18th centuries. The general composition of the decoration of the New Testament frame goes back to the design of the luxurious liturgical Gospels.

Michelangelo's Left-Hand Man: Minding the Gap in Sebastiano del Piombo's Pietà

Abstract: This article considers the vitality of the left hand of Christ in a monumental Pieta panel painting by the Italian Renaissance artist Sebastiano del Piombo (bom Sebastiano Luciani, ca. 1485–1547) and a vital link between this hand and the left hand of Adam in the Creation scene on the Sistine Chapel ceiling by Michelangelo (1475–1564). Sebastiano's work was made in the central Italian city of Viterbo around 1512 to 1516, and shows a seated Virgin Mary grieving the death of Christ, her son, whose body lies on the ground in front of her. The article focuses on the representation of Christ's body, identifies a gap between the fingers of Christ's hand and his thigh underneath, and explores this gap's significance as a sign of life. It first reveals a close and as yet not remarked upon connection between the hands in the Pieta and the Sistine Chapel. Through consideration of a series of sketches and drawings that highlight the close working relationship between Sebastiano and Michelangelo during and around the years of the Pieta'' s production, the likelihood that the left hand of Christ in Viterbo was designed by Michelangelo is confirmed. The hand was probably sent to Sebastiano as a drawing from which he worked a cartoon. By examining the iconography of the painting and its associations to Adam's spirited hand in Michelangelo's Creation alongside biblical passages and a popular religious text, the Meditations , the article argues that the restless left hand of Christ in Sebastiano's Viterbo Pieta is a symbol of Christ's Resurrection.

Transmedial Analysis of the Passion Narrative in the Scripture and the Movie the Passion of the Christ

Transmedia storytelling is the art of narrating stories using various media, with each medium adding something distinct to the narrative universe. This narrative universe may be accomplished with any media, including radio, TV, movies, video games, internet video, and web applications. The paper aims to demonstrate how different media platforms may convey one or more events over various channels to create a coherent whole. The article aims to comprehend the intricacies of translating written information into a visual medium using a cinematic approach. This study examines a trans-medial examination of two distinct transmedia storytelling approaches: the conventional methods of conveying the gospels in the Bible and the translation of the Gospels in the Scripture into a film. The two sources that were taken into consideration are the Four Gospels in the Holy Bible, which describes the final hours of Jesus’ life on Earth, and Mel Gibson’s film adaptation of those Gospels in the Scripture, The Passion of the Christ, which shows the events surrounding Christ’s conception, life, teachings, healings, temptation, and the crucifixion of Jesus Christ. Gibson opted for the transmedia medium of a movie to raise global awareness of Jesus’ sufferings in his last hours on Earth. This essay traces Gibson’s creative liberty by comparing his portrayal of The Passion of the Christ to the Biblical account of Jesus’ suffering in his final hours.

Review of "Calvin on the death of Christ: A word for the world"

Review of "Calvin on the death of Christ: A word for the world"

New finds of crosses from the churchyard of the Church of the Savior in Tobolsk

The subject of the study in the presented article is two crosses from the graves of the Spassky cemetery of Tobolsk. They were discovered during the rescue archaeological excavations in 2022. The range of analogies of the considered finds, as well as their territorial distribution, is considered. A number of issues related to their dating based on typologically identical finds, as well as the chronology of the existence of the churchyard at this church, are touched upon. One of the illustrative specimens in the collection was a rare type of white bronze alloy cross with a crucifixion of Christ on the obverse and an image of an angel on the reverse, originating from burial No. 4. On this cross, the attributes of the Passion Cycle are considered. The analysis showed that such a find, although it has analogies, is still not completely identical to them. It is concluded that the studied type of cross has iconographic origins in the works of European masters. Baroque secular art also had a great influence on the further development of the forms and content of such crosses. The author findings are based on typologies developed by E.P. Vinokurova and V.I. Molodin. The finds were compared with a circle of typologically similar crosses from the territory of Russia and Ukraine, and their chronology was clarified. Identification and comparative analysis of the attributes of the Passion Cycle have been carried out. On the basis of a set of features, their common and distinctive features are revealed. Over the past decades of archaeological research in Tobolsk, a number of archaeologists have collected a representative database of objects of personal piety. For a number of reasons, these findings are not always promptly and fully published, which creates gaps in the source database. The scientific novelty of the presented article is the contribution to the stavrographic collection from the excavations of the churchyard of the Church of the Savior in 2022. Of particular interest is the well-preserved cross No. 4 with a crucifixion, which had not previously been found during excavations in Tobolsk and its surroundings. It is concluded that the studied crosses have iconographic origins in the works of European masters. The further development of the forms and content of such crosses was also greatly influenced by Baroque secular art.

Emblematic Arks in John Donne's "A Hymne To Christ" and the Antwerp Polyglot Bible (1568–73)

Abstract: Noah's ark ([inline-graphic 01] or thebah ) fascinated the Christian Hebraist makers of the Antwerp Polyglot Bible. Their sacred philology interpreted thebah as a singular life-preserving vessel, and their Bible's elegant engravings of thebah insert Christ's crucified body inside it. "Christ's ark," as I call this emblem, figures the life-preserving Resurrection promised in Christ's sacrificial death. I argue that "Christ's ark" informs John Donne's "A Hymne to Christ." In its first stanza, Donne makes a distinctly personal emblem of "Christ's ark," which intersects with the hymn's controversial closing lines. These closing lines express faith in Christ's Resurrection, and, with His Resurrection, Donne's own.

A Heritage Digital Twin ontology-based description of Giovanni Baronzio's “Crucifixion of Christ” analytical investigation

The methodologies of Cultural Heritage research and in particular those related to conservation and the analytical study of heritage assets and works of art, recently grouped under the term Heritage Sciences, engage a broad range of disciplines, each with its own characteristic workflows for generating data. Consequently, an emerging challenge is the need to define a digital framework for multi-source data integration, associated with a single heritage asset, but generated by various tools and methods which are often pursued by different research groups and at different times. This digital framework is discussed in this essay as the digital twin of a heritage asset, comprising of the documentation data associated with a heritage asset and its virtual representation. To best describe and define a Heritage Digital Twin ontology and its associated knowledge graph, we use a specific example drawing from art historical and analytical investigation of a 13th century Italian painting masterpiece, the Crucifixion of Christ, by Giovanni Baronzio, one of the leaders of the so-called Rimini School of painting which was greatly influenced by the work of the famous Renaissance master Giotto di Bondone.

Peningkatan Motivasi Dan Prestasi Belajar Materi Sengsara Dan Wafat Yesus Menggunakan Pembelajaran Discovery Learning Pada Siswa Kelas VIII di SMPN 5 Katingan Hilir

Learning that integrates literacy abilities, knowledge skills, skills and attitudes, as well as mastery of technology is 21st century learning. The characteristics of 21st Century learning are learning that must prepare the generation for advances in Information and Communication Technology (ICT or ICT) which are developing very quickly. These technological developments affect various aspects of life, including the learning process. 21st century learning is integrated with the independent curriculum, the development of which is a further step in developing the 2013 curriculum. At the junior high school level there are still students who lack motivation to study Catholicism. In particular, when presenting material or subjects about the Passion and death of Jesus in Class VIII, SMPN 5 Katingan Hilir, Katingan Regency, Central Kalimantan, from year to year there are always students who experience difficulties in learning so that learning outcomes do not match the expectations of the standards that have been set. . The assessment of Catholic Religious Education and Character at SMPN 5 Katingan downstream is expected to achieve a minimum good attitude score, a minimum knowledge score of 75, and a minimum skills score of proficient. To achieve the goals mentioned above, a learning approach that is quite challenging for teachers is the project-discovery learning approach. Learning Catholicism in schools apart from developing faith education, also has the function of forming good personality or character. Therefore, a learning model that is student-oriented is needed, so that they are able to develop critical thinking skills and solve problems faced in everyday life.
 Discovery Learning is a learning model that can be applied to independent curriculum history learning because it can encourage students to think critically, have problem solving skills, connect knowledge about problems and real world issues. Based on the description above, it is hoped that this classroom action research can increase motivation and learning achievement in Catholic Religious Education Subjects. The use of the Discovery Learning Model that matches the syntax in learning Catholic Religious Education in class VIII of SMP Negeri 5 Katingan Hilir, material or subject matter about the Passion and death of Jesus, is very effective in increasing student motivation and learning achievement, which can be seen from the pre-cycle student learning motivation in the good category was 40%, increased in cycle I by 73.33% and in cycle II increased by 90%. The increase in student learning achievement can be seen through the average post test score in the first cycle stage, namely 77, then an increase to 89 in the second cycle post test. The improvement looks significant for students who need attention and guidance from teachers and classmates. This can be seen from students who increased quite high by 8%.

Kesatuan Liturgis dan Teologis Perayaan Trihari Suci

This paper aims to explore the true meaning of the Mysterium Paschale, namely Christ's passion, death, and resurrection, based on the liturgical celebration of the Sacred Triduum where the Church solemnly celebrates the greatest mysteries of redemption, namely the special celebrations of the memorial of the Lord, crucified, buried, and risen. This paper is designed as a hermeneutic qualitative research. The theological examination leads the author to some critical findings. First, the Sacred Triduum should be seen as one liturgical celebration that lasts three days. The Sacred Triduum shows an unseparated sequence of liturgical celebrations. Then, the Sacred Triduum regarded as one liturgical celebration reveals in turn a unified theological meaning, namely Mysterium Paschale which consists of the mystery of the passion, death, and resurrection of Christ. By looking at the unity of the celebration of the Sacred Paschal Triduum and of its theological meaning, it is recommended that the faithful may prepare for the celebration thoroughly and be able to participate in the celebration of the Sacred Paschal Triduum as a whole so that they can experience the Easter Mystery as the culmination of the history of our redemption.

From Shame to Restoration: A Transformative Approach to Authentic Sexuality

The Christian community perpetuates a narrative that human sexuality is shameful rather than a natural, beautiful expression of God's created design. Christian culture's longstanding conflagration of shame and sexuality is also evident in its discomfort in discussing healthy sexual relationships and in its promotion of resources that reduce sexuality to its procreative purposes. Promoting a false association between sexuality and shame also increases the risk of sexual abuse and the revictimization of abuse victims. In contrast, Scripture promotes the interconnectedness of sexuality and spirituality as equally holy to each other and fully redeemed by Jesus's death and resurrection. A biblical view elevates sexuality as a unique expression of love and the relational communion of the Trinitarian God. As the Church moves forward to recover a proper biblical understanding of sex, it must examine its disparate treatment of women in and outside the congregation, reclaim the gift of sex as God intended, and normalize discussing topics relating to sexuality. Removing the shame around sex by focusing on God's grace will diminish confusion, strengthen relationships, and foster a biblically authentic view of sexuality.

A Rending and a Raising: Ecstatic Religiosity and Textual Renewal in J. M. Coetzee's Jesus Trilogy

Abstract This essay considers the abstract aesthetics of J. M. Coetzee's Jesus trilogy—The Childhood of Jesus, The Schooldays of Jesus, and The Death of Jesus—as emphasizing the pertinence of the religious in terms of a rupturing of an ontotheological vision of the world. It analyzes Coetzee's employment of religious allegory in the trilogy as a commentary on the birth of religious consciousness that finds its ultimate meaning in an opening out of hermetic experience toward social community and unthematizable singularity. Using Jean-Luc Nancy's ideas of Christianity as a deconstructive event and the ecstatic sense of the world, this essay traces the thematic cohesion of the trilogy in terms of an understanding of divinity that provides an atheological grounding of phenomenological sense. This reading not only emphasizes Coetzee's turn toward a “leaner” style in his late writing as the mark of a unique novelistic outlook toward the pertinence of transcendence in a postsecular world, but also engages with previous readings of allegory in Coetzee's work to posit a different understanding of allegory to be a conscious textual choice that both separates and ties together “fallen” temporality and the redemptive potentialities of literature, resulting in a sense of reality that stubbornly leads outside of it.