Christian Symbols Research Articles

Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite

The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gaps in art history and cultural studies within the framework of relevant themes by introducing modeled and unified conceptual-categorical constructions into scientific circulation. The purpose of the research. The main purpose of the article is to rethink and systematize some artistic and stylistic tendencies of the Hellenistic’s era in late antiquity, from which all Eastern church pictorial traditions drew their conceptual and stylistic foundations during their formation period. The methodology. A combination of specialized methods was applied: historical-comparative method for identifying key artistic tendencies; cultural-deductive method for formulating artistic categories; abstraction method for delineating key stylistic features of sacred attributes, as well as for identifying differences and similarities; expert artistic assessment method for theoretical characterization, substantiation, and expansion of conceptual-categorical components; stylistic correlation method for unifying newly discovered stylistic connections of Hellenistic artistic products and the Christian tradition. The combination of the listed methods allows us to reveal the concept of the stylistic basis for the pictorial tradition in the church paraphernalia of the Eastern rite and to systematize the existing authoritative evidence base regarding to origins of the pictorial canon of the Egyptian and Greco-Roman periods. Conclusions. Our analysis shows that in the broad context of the formation of the pictorial canon, peculiar to the churches of the Eastern rite, some artistic trends of the first centuries of the new era turned out to be an unchanging and stable conceptual basis for the pictorial canon in a complex artistic and philosophical coordinate system. Thus, the artistic canon of the Eastern churches, formed between the VI and IX centuries, is nothing more than a borrowed status-functional category for the multi-level gradation of Christian value aspects with specific techniques and means of Hellenistic fine art of the times of ancient Egyptian and Greco-Roman syncretism. Their intermedial nature and appellative character in relation to the Theogony of the ancient world limit the traditional interpretation of the Christian symbolism of the vast majority of canonical images in the artistic plane. The scientific novelty. For the first time our research analyzed the cause-and-effect relationship between canonical Christian stylistic attributes and Greco-Roman and Egyptian features as the ideological basis of the latter for the formative role of the former. It reassessed and re-evaluated some Hellenistic artistic tendencies in terms of their significance and complexity. A number of expanded cultural and art historical concepts and categories of the ancient world are proposed and substantiated.

Религия – политика – нация: трансформация конфессиональных образов Тридцатилетней войны (1618-1648)

The article is devoted to the transformation of confessional images into national ones in German visual journalism during the Thirty Years' War (1618-1648). This is most clearly seen in a unique German monument from the Thirty Years' War era - illustrated single-leaf woodcuts on which images were combined with text below. The engravings of the illustrated single-leaf woodcuts reflected all the most pressing processes and events of the early modern period, including the crisis of religious consciousness and the collapse of the idea of a “universal monarchy” - a single Christian state under the auspices of the Holy Roman Emperor. During the era of the Thirty Years' War, politics could not be imagined without religion, and religious motives were not separated from political ones. The Thirty Years' War, which turned into the first pan-European catastrophe, became a new step in the secularization of consciousness, which contributed to the metamorphosis of political teachings of the 17th century. The Thirty Years' War, which turned into the first pan-European catastrophe, became a new step in the secularization of consciousness, which contributed to the metamorphosis of political teachings of the 17th century. The gap between politics and religion that began at this time was expressed, among other things, in the emergence of the idea of the nation as one of the leading leitmotifs of state development. National consciousness gradually turned into a kind of foundation for politics. During the era of the Thirty Years' War, this was reflected in the interpretation of Christian symbols and confessional images in visual media. In illustrated single-leaf woodcuts, they were increasingly associated with claims to the uniqueness of one’s own nation and the need for state sovereignty. Traditional religious meanings and motives were used to create images of both national heroes and “anti-heroes” - enemies of the state and nation.

Carved support beams of the Hetmanate

The article examines the carved support beams from the apartments of representatives of the families of the Cossack elders and the Orthodox clergy of the Hetmanate from the last quarter of the 17th till the end of 18th centuries. The creation of multi-ornamented support beams was a kind of confirmation of the social status of the owners of the houses and their artistic preferences, and an expression of the skill level of the master carvers of that time. The aim of the study is to analyze all the support beams of representatives of the Cossack elders and clergy of the 17th and 18th centuries known today and to achieve general undertanding regarding the specifics of these monuments of the material culture of the Hetmanate. For the first time in historiography, on the basis of information about the support beams preserved in museum collections and highlighted in scientific publications, a comprehensive general analysis of these monuments as a phenomenon of material culture was carried out. As a result of the analysis of information about 22 carved support beams of the 17th-18th centuries from the territory of the Hetmanate, it was concluded that the common features of these monuments are the presence (with some exceptions) of straight Orthodox crosses and inscriptions in the Church Slavonic language in the centers of the artefacts. In the ornamentation of the support beams, features characteristic of the late baroque and classicism can be traced. At the same time, both simpler and more richly decorated artefacts exist. The second group includes support beams from the houses of individual representatives of the Cossack elders. Each support beam was a visual manifestation of the owner's wealth and social status, and of their artistic preferences against the background of generally accepted cultural canons. At the same time, carved support beams are examples of the skill of Ukrainian master carvers of the early modern era, which need to be preserved for future generations. In general, the images on these products are permeated with Christian symbolism, although they also contain some symbols that occur in pagan sign systems.

Жертвенность как психологический феномен (на примере жизни и деятельности Фридриха Иосифа Гааза)

The article attempts to study the phenomenon of sacrifice within the framework of psychological science. The theoretical and methodological foundations of the analysis were the ideas of the founder of analytical psychology Carl Gustav Jung. He considered an important component of psychological work on the harmonization of the inner world to be the willingness of a person to come into contact with a variety of mental material, including those related to negative, unpleasant characteristics of his own personality in order to analyze them. Sacrifice in the context of analytical psychology involves systematic reflection, self-deepening, increasing awareness and, as a result, enriching the personality with meanings that are not subjective, but universal. In the article Jung's ideas are considered regarding the life and charitable activities of a man of high spiritual life, an outstanding silverless physician of the XIX century Friedrich-Joseph Haase. It is shown that his prosocial activity is the result of personal transformations under the influence of deep religious faith, orientation to Christian symbols and dogmas, introspection and subtle psychological reflection. Haaz endowed a person's life path with a sacred meaning, trusted the natural flow of life, considered the circumstances of life, turns of fate, meetings as tasks set for him from Above. The doctor's high degree of awareness expanded the boundaries of perception of reality and contributed to the fact that public interests and concerns became deeply personal for him.

The Code Analysis of ‘Post-Apocalyptic Era’ Movies: Take Mad Max: Fury Road as an Example

In the 88th Academy Awards, directed by George Miller, a "wasteland" theme film "Mad Max 4: Fury Road" is the world's most recognized female theme film. 50% of film history is one of the films in the explosive stage. After it won the Oscar six awards, it has become a "wasteland" theme film's new benchmark. Through semiotics and the Bible, this paper deconstructs the image codes in movies. Based on the symbolic interactionism theory, this paper analyses the character behaviour, identity construction and prop application in the Christian symbol system and combs and deconstructs it, trying to explore the symbolic metaphors in movies and reflect on the artistic value and ideological connotation contained in movies.

Coats of Arms of the Seraphic Sisters

Social groups, informal communities, and institutions that need to be distinguished often assume a distinctive trademark. This symbol (logo in contemporary parlance) identifies particular members of the group as well as their collective actions. The common mark conveys the sense of unity. This function was fulfilled by the old Christian symbols. The same function over the centuries was played by the identifying symbols of knights, ancestral coats of arms and crests, the arms of guilds and craftsmen’s unions, and coats of arms of abbeys, chapters, and monastic congregations.

Nature and lineages in the novel LeMas Théotime of Henri Bosco

The novel _Le Mas Théotime _is characteristic of Henri Bosco’s style marked by a syncretic mysticism mixing Pagan and Christian symbols. The pastoral writing illustrates a deep struggle between unknown drives. The hypothesis of this article is that these spiritual forces are linked to old alliances between families. To some extent, the pastoral narrative activates ethnic links between characters that are not always conscious about the power of these relations. By referring to the dream analysis proposed by Carl Gustav Jung, it is possible to read the pastoral in _Le Mas Théotime _as an ancestral tragedy where old alliances can be betrayed and questioned.

SIMBOLI U OPECI: ZNAČENjE APSIDE CRKVE SV. DIMITRIJA (MARKOV MANASTIR) U MARKOVOJ SUŠICI KOD SKOPLjA

The apse of St. Demetrios Church in Markova Sušica stands as a profound testament to the intricate interplay of symbolism within the 14th century Serbian architecture. The analysis delves into the specific brickwork patterns, decoding their symbolic meaning. Drawing from the Christian symbolism and theological insights from St. Gregory of Nyssa and St. Basil the Great, the article explores the use of geometric patterns to elevate the mind toward divine contemplation. The article also integrates these symbols into the broader theological context,referencing the Еconomy of Salvation and iconographic representations within the apse. Thus, it is concluded that the apse of St. Demetrios Church emerges as a powerful embodiment of the divine principle, intricately connected to the sacred landscape of Matka. Its rounded form, reminiscent of a womb, symbolizes the nurturing embrace of the Mother of God. The interplay of colors and symbols invites the faithful on a spiritual journey guided by the divine feminine principle, providing a comprehensive exploration of the architectural and symbolic aspects of this medieval Serbian masterpiece.

Религиозная иконография и топография в европейском садовом искусстве XVI–XVII веков. Источники, интерпретация, культурный контекст

The paper analyzes gardens and landscapes of the Renaissance, Mannerism and Baroque with particular attention to moral themes and Christian symbols. I follow the devel-opment of moral topography in the gardens by examples of Villa Hadriana, Villa d’Este in Tivoli, Versailles, Tsarskoye Selo, Désert de Retz, Sanspareil, Regaleira. The two types of gar-dens are identified: architectural (Castelo Branco, Bom Jesus do Monte in Braga) and land-scaping (Bomarzo, Cetinale, Esztergom, Buçaco, Kuks, Valsanzibio). The paper then turns to “sacred mountains” created in the foothills of Italian Alps as a symbolic barrier at the bor-der of Protestant lands. The interplay of gardens themselves and their descriptions, such as in “The Path of Purification”, the treatise by Francesco de’ Vieri on Pratolino, 1587 and in the inscriptions in Valsanzibio, is also discussed. Further in the paper I wonder about how moral programs of gardens can be studied and incorporated in the history of ideas and religiosity. The work is based on the materials of author’s travels and is illustrated with his photographs. Translations into Russian are by B. Sokolov.

Побутові вірування українців ХХ століття на прикладі знахарів

Background. The relevance of the research of the article lies in the fact that everyday beliefs and practices of Ukrainian healers are an important component of Ukrainian culture and traditional medicine. Household beliefs reflect the cultural and historical aspects of a society and the methods by which people understood the world around them and interacted with it in their daily lives. Methods. The article uses general scientific methods - historical, cultural, sociological and systemic approach, which made it possible to carry out a comprehensive analysis and assessment of the historical context of the given topic. The combination of these research methods made it possible to obtain a comprehensive understanding of everyday beliefs of Ukrainian healers and their role in modern society. The results of the study of everyday beliefs of Ukrainian healers showed that this practice has deep roots in Ukrainian culture and traditions. The study also showed that the everyday beliefs of Ukrainian healers of the 20th century are often combined with Christian traditions, which indicates the syncretic nature of this practice. Healers use prayers, icons, and other Christian symbols along with their own rituals and ceremonies. Conclusions. The household beliefs of Ukrainian healers reflect deep cultural and historical connections, and also reflect people's need for spiritual and energetic healing. These beliefs play an important role in the life of modern Ukrainian society, helping people to find support and treatment in traditional methods. Research can make a significant contribution to the maintenance and preservation of traditional healing methods that are passed down from generation to generation. Studying this topic will allow a better understanding of the methods of treatment and health support used in Ukrainian society.

Poreklo konteksta i značenja motiva delfina posvedočenog na lucerni u Smederevskom muzeju (IV vek)

The dolphin motif on the ship-shaped oil lamp treasured in the Museum of Smederevo (4th century AD) has complex iconography, multi-layered and complex symbolism, and a long history. This article presents and explains how its iconography and meaning were gradually formed and developed in ancient Greek and Roman art, as well as the peculiarities of its gradual transformation into a Christian symbol. It is found that the context of the appearance of the dolphin motif in art during different epochs is not a mere coincidence, but the expression of a clear intention on the part of particularly learned artists and commissioners of works of art. Since there are no written records of this motif that would explain its iconography and meaning, and since the motif itself is by nature very hermetic, and at the same time very rare, the characteristic context of the appearance of the dolphin motif in art is also a decisive parameter for analyzing its meaning and its gradual formation.

The Importance of Thai Christian Art: An Analysis of Three Artists and Their Impact on Society

In this article, three differing approaches to faith representation will be presented. Sawai Chinnawong uses a traditional Thai art form, while Arnan Moontrakorn utilizes an amalgamated approach to Thai and Modern art. Jompol Puatawee, while using Thai imagery in his contemporary art style, does not reference traditional symbols. The artists featured, while all representing their Christian faith, do not use obvious Christian symbolism. As this article shows, Thai Christians can accept Thai traditional art as a useful medium for presenting Christian ideas, and these works of art are understood to have a Christian message.

Literature and Mythology: Exploring Mythological Elements and Archetypes in “The Lion, the Witch and the Wardrobe”

This article delves into the intricate relationship between literature and mythology, exploring how C.S. Lewis skilfully intertwines mythological elements and archetypes in his classic children's book, "The Lion, the Witch, and the Wardrobe." The author examines the use of Christian symbolism, the resurrection motif, and characters inspired by traditional myths to create a timeless narrative. The essay explores the subversion of myths within the story, emphasizing the nuanced characterization of figures like the White Witch and the unexpected transformation of flawed heroes. Additionally, the article analyses the thematic implications and character development in the novel, highlighting the central themes of good vs. evil, redemption, sacrifice, heroism, and friendship. Furthermore, it discusses how Lewis subtly subverts mythological elements, challenging preconceptions and providing a fresh perspective on timeless tropes. The Narnian setting itself is examined, with its disruption of time and diverse array of magical creatures challenging conventional expectations. In conclusion, the article asserts that "The Lion, the Witch, and the Wardrobe" stands as a testament to the enduring impact of the legendary genre on fiction, showcasing Lewis's ability to transform familiar myths into a thought-provoking and timeless masterpiece.

Despre problema datarii mormantului cx. 20A de la Pecica-Duvenbeck ai a semnelor de cruce pe vasele ceramice din Bazinul Dunarii mijlocie / On the Question of Dating the Tomb CX. 20A from PECICA-Duvenbeck and the Signs of the Cross on Ceramic Vessels from the Middle Danube Basin

Rescue excavation from Pecica-Duvenbeck from the year 2018 unearthed 582 complexes related to various periods, among them two groups of graves datable in the 7/8‒9th centuries. In a grave, complex no. 20A, there has been identified a pot, which has under the throat an incised cross sign. The skeleton, partially disturbed at the time of its robbery, seems to have been a woman adultus/maturus, with an estimated age of over 30 years. Besides presenting this interesting discovery, we also proposed a debate on the problem of the radiocarbon dating of the grave, because the same samples of the skeleton were analysed in two laboratories getting antagonistic results. However, in the light of typo chronology and the results of the other 8 samples from other graves in this funerary site, we can conclude that the grave can be dated at the end of the 7th and the first half of the 8th century. Out of the ceramic pot of the grave from Pecica, in only two cases we have been able to document cross-shaped marks on the wall of vessels in the Avar funerary environment (7–8th centuries); even cross-shaped marks were found in such non-Christian funerary contexts. Therefore, we think that the cross-shaped mark on the Pecica pot – in an environment dominated by a cultural habitus entirely different from the Christian world – was not a Christian symbol, but an interpretation as an apotropaic, i.e. as a symbol adopted and transformed according to the pagan mentalities of the 8th century, is a more plausible explanation.

Христианские символы в росписи склепов Херсонеса

The wall-paintings of 11 burial vaults of Chersonese, including mostly floral and vegetal designs, images of birds and imitation of marble wall-facing, correspond to the iconography of the early Christian funerary painting in the Late Roman Empire dating from the last quarter of the fourth to the early fifth century. Most likely, the outside painters of the Chersonesan vaults followed already established and well-known decorative and symbolic system by making a certain set of scenes. There is an image of undoubtedly Christian symbol, namely the Christogram, surviving on the vaulting of two structures only (uncovered in 1853/1905 and 2003/2006). There are four burial vaults more, featuring by the remains of paintings, possibly also of the Christogram. The line-drawing of the surviving images of Chersonesan Christogram meets with almost exact analogies, for example, in the tombs of Sophia, Thessalonike, and Sardis. For the first time, this article suggests that, apart from the Christogram, there was another Christian symbol used in the early Christian funerary painting of Chersonese, namely the four-petalled rosette, known from the walls of two burial vaults (the first located on N. I. Tur’s land, and the second uncovered in 2003/2006). The images of similar rosettes appeared on the pieces of art and in the funerary painting from the Hellenistic Period on. This extremely popular design of Classical art was primarily a decorative element and attribute of the garden of paradise. However, the Christians, especially in the age when the cult of the cross developed, most likely viewed the cruciform as a symbol. This observation concerns primarily the paintings with four-petal rosettes occupying an accentuated position in their decorative programme, actually replacing the image of the cross. A very vivid example of such use of the cross-shaped flower is the painting of tomb no. 37 in Thessalonike. In Chersonese, a case of the kind is the painting of the back wall of the burial vault located on N. I. Tur’s land. From the symmetrical location of three identical cross-shaped rosettes accompanied with two peacocks, with the middle rosette in the very centre of the composition, framed by a semi-circular fluffy garland, there are reasons to interpret them as cross-shaped symbols rather than simple plant designs.

Christian motives in Soviet cinema

The paper highlights the history of emergence and development of Christian motives in Soviet cinema, from the times of persecution against the Church in 1920–1930 up to the era of Perestroika. There is a difference in the perception of Christianity as the basis of traditional ethno-cultural identity and as the basis of universal moral values, which in both cases contributed to the gradual legitimization of Christian subjects in Soviet culture in spite of the multilevel system of ideological censorship. This paper analyzes the deep ideological trends in the evolution of Soviet culture, which allowed, on the one hand, the atheistic authorities themselves and, on the other hand, the experimenting filmmakers to address the topic of religion in general, Christianity in particular and specifically the Russian Orthodox Church in different ways in different periods of Soviet history. The illustrative examples of using various Christian symbols, Biblical quotations, events of religious history, the representation of the image of a Christian priest and a believer as such in Soviet films, as well as the increasingly noticeable appeal of Soviet filmmakers to Christian associations and allusions are also shown here. The author pays special attention to contradictory ideological trends during the three basic periods of Soviet history in the second half of the twentieth century: The Khrushchev Thaw, the Era of Stagnation and Perestroika. All three contributed to the legitimization of religious themes in Soviet cinema and determined the specifics of the attitude to religion in the late Soviet period. The films by such directors as Mikhail Romm, Marlen Khutsiev, Andrei Tarkovsky, Michael Kalik, Andrei Konchalovsky, Nikita Mikhalkov, Gleb Panfilov and others are considered in the paper as the most significant precedents. Hypotheses are put forward about further ideological strategies of the Soviet state regarding Orthodox Christianity, if the Communist Party had been able to retain its power.

From sacred place to outer space: Collective creativity and the iconographies of mid-twentieth century English modernity in Guildford Cathedral's kneelers

Between 1936 and 1969, around 1600 kneelers were produced for the new Anglican cathedral at Guildford in Surrey, southern England. This was a major collective devotional artwork, involving hundreds of embroiderers, mostly local women. The project was a distinctive form of community and collective artwork, that complicates established understandings of embroidery, craftwork, femininity and politics. It worked within guidelines for design and materials set by the interior designer Lady Prudence Maufe and her husband Sir Edward Maufe, the cathedral's architect. However, it also allowed for considerable autonomy and self-expression on the part of the volunteers. The kneeler collection has a rich and varied iconography that ranges from expected Christian symbolism to representations of modern technology and nuclear weaponry. What emerged over the length of the project was a complex expression of the worldview of post-war England, and particularly the England and Englishness of the Home Counties. This worldview attempted to combine faith in God with faith in technological progress, and to reconcile internationalism with confidence in British military power. The Guildford kneelers are best understood as a distinctive form of conservative modernity, an attempt to place the changes of the mid twentieth century into longer traditions of Christian worship and Englishness.

Spirituality of Artistic Service

In the document Letter of his Holiness Pope John Paul II to Artists, John Paul II pointed out that artists, with their creation, perform a professional social service for the benefit of the common good through the “spirituality of artistic service”, which, through the perspective of “educational art,” contributes to the life and revival of the individual and society. Since that document does not specify what a model of such spirituality would consist of, the goal of this paper is to offer a proposal for the theoretical elaboration of its potential framework. The topic is discussed from the perspective of Christian theological aesthetics. The starting point for the development of the spirituality of the artistic service model is Christian artistic creation. The indicated theoretical framework of the spirituality of artistic service is based on three dimensions of Christian artistic creation. The first represents Christian artistic creation that points to the depths of the mystery of the sacred through Christian symbols. The second dimension of Christian artistic creation relies on the contemporary form of religious imagery in changed cultural circumstances in order to adequately present a transcendent perspective of the meaning of existence. The third dimension of Christian artistic creation awakens admiration in the recipients through artistic contemplation, thus enabling a spiritual transformation and serving as the bearer of eschatological hope. In the end, it is shown that this model of spirituality in artistic service can serve as a good theoretical framework for the implementation of three new dimensions of Christian art suitable for the contemporary cultural environment: mystagogic, existential, and contemplative.

Religion upon the Mountains: From Christianisation to Social Actions against Summit Crosses in Italy

In Italy, the debate regarding the presence of crosses and crucifixes in public places is long-standing and involves their detractors, supporters and defenders. Over time, these conflicting positions have gained media resonance, becoming a sociopolitical controversy that has led to lawsuits at various levels, including the European Court of Human Rights. In the social sphere, the issue has oscillated between the recognition of the universal value of religious symbols and advocacy for secularism, even in open spaces such as mountaintops. During the last few decades, several initiatives have been undertaken in the Italian Alps, driven by ecological concerns and opposition to the presence of crosses on the mountains. These initiatives have resulted in collective actions against the positioning and erection of crosses, and there have even been attempts to diversify the Italian peaks. By providing a historical overview of the Christianisation of Italian mountaintops and focusing on the mobilisation against the presence of crosses, this article contributes to the understanding of the role of such symbols in Italian public opinion, which is intertwined with the vitality of the Catholic Church and the sociopolitical implications of these initiatives. The research questions will investigate the process of legitimisation and delegitimisation of Christian symbols. The cross on the mountaintop serves as an example of culturalised religion, where this cultural object can become a “passive religious symbol,” polarising claims for the defence of the natural environment and the sustainability of religion in the mountains.

Theopolitical police: BOPE, Christianity and popular culture in Rio de Janeiro

ABSTRACT This article centres on contemporary mergers between state security practices, popular media and religion in Rio de Janeiro, Brazil. It discusses the actions and the representations of BOPE – Batalhão de Operações Especiais da Polícia Militar do Rio de Janeiro – the special operations battalion of the military police of Rio de Janeiro, to show how this unit frequently employs Christian symbols and practices to legitimate violence at the border between the legal and the illegal. BOPE’s religious iconography is amplified by movies, memes, toys and popular clothing. BOPE’s military pop-culture can best be regarded as theopolitical because such a perspective underscores the fact that different Christian symbols and practices, derived from Roman Catholicism and Pentecostalism, produce incoherent political theologies that are fuelled by bottom-up innovations and institutional legacies.