FRDB Archives

Freethought & Rationalism Archive

The archives are read only.


Go Back   FRDB Archives > Archives > Religion (Closed) > Biblical Criticism & History
Welcome, Peter Kirby.
You last visited: Yesterday at 03:12 PM

 
 
Thread Tools Search this Thread
Old 08-05-2009, 12:37 PM   #41
Veteran Member
 
Join Date: Sep 2004
Location: Birmingham UK
Posts: 4,876
Default

Quote:
Originally Posted by spamandham View Post
After a bit of searching around, I'm having a hard time finding a good reference for the earliest Christian art. Do you know a good one?
early christian art may be of interest.

Andrew Criddle
andrewcriddle is offline  
Old 08-05-2009, 02:20 PM   #42
Contributor
 
Join Date: Mar 2004
Location: Dallas, TX
Posts: 11,525
Default

Quote:
Originally Posted by andrewcriddle View Post
Quote:
Originally Posted by spamandham View Post
After a bit of searching around, I'm having a hard time finding a good reference for the earliest Christian art. Do you know a good one?
early christian art may be of interest.

Andrew Criddle
Thanks! I notice however, that there is nothing there earlier than the 4th century, and that at least one of the pieces does depict the cross (as well as other themes from the passion).
spamandham is offline  
Old 08-05-2009, 02:31 PM   #43
Contributor
 
Join Date: Mar 2003
Location: London UK
Posts: 16,024
Default

Quote:
Christian Art

What makes a work of art Christian - is it in the eye of the artist or the viewer? How was Christian art created and sustained over two millennia? And what is its relationship to the art of other great world religions? These are some of the fascinating questions discussed in this innovative and thoughtful book about our understanding of Christian art today, in which the author treats the art as a response to universal human themes: relationships between women and men, food as an expression of friendship, refugees seeking asylum, coping with old age. Drawing extensively on the international collections of the British Museum, these contemporary themes are followed through a wide range of objects, from pilgrim tokens to ivory figurines and gold and enamel reliquaries, and from a rich selection of prints and drawings to Byzantine, Greek and Russian icons. Stunning examples of the decorative arts yield original and lesser-known Christian iconography as well as significant paintings and chur
http://www.britishmuseumshoponline.org/invt/cmc50536

Quote:
  • Christian Art
  • Author: Rowena Loverance
  • ISBN: 9780714150536
  • Number of pages: 248
  • Size: 246x189mm
  • llustrations: 160 colour
Clivedurdle is offline  
Old 08-05-2009, 02:40 PM   #44
Contributor
 
Join Date: Mar 2003
Location: London UK
Posts: 16,024
Default

Quote:
The Image of Christ by Gabriele Finaldi is a beautifully illustrated, colourful history of how Christ has been portrayed by artists from the early Church to the present. It is not, however, a life of Christ told in pictures. Instead, the book explores the challenges Christian artists have faced as they have tried to imagine what Jesus looked like. Since no eyewitness descriptions of Jesus' physical appearance survived, the earliest artists' depictions of Christ played on the symbols and images that he used in his parables--such as the Good Shepherd, the Light, and the Vine. Later, artists became concerned with capturing Christ's true physical likeness, based on miraculous relics such as the cloth that Saint Veronica offered him on his way to Calvary, which was believed to be imprinted with an image of his face. These stages in the history of Christian art are described by several art historians in brief essays, each of which is lavishly illustrated. The book, which was inspired by "Seeing Salvation: The Image of Christ", an exhibition at the National Gallery, London, will be treasured by secular and believing readers alike. A deeper understanding of these works' religious context will sharpen viewers' experience of their universal relevance. The dozens of pictures, paintings and sculptures reproduced here bear profound witness not only to the events of Jesus' life, but also to such universal themes as the enduring power of a mother's love for her children, the suffering of innocents and love's triumph over death. --Michael Joseph Gross

Synopsis
Christ is recognisable in all sorts of images: in painting, sculpture, film and illustration. His likeness is familiar, yet the Gospels and Early Christian texts do not provide any information about his appearance. This book, produced to accompany the millennial exhibition Seeing Salvation: the Image of Christ at the National Gallery, London, reveals how the challenge of representing Christ has been confronted through the ages. It explores how artists have portrayed someone who is both God and man, human and divine, mortal and immortal. The story of the changing image of Christ is revealed through a detailed look at a number of paintings, prints and three-dimensional objects, from the Early Christian era to the twentieth century. In the earliest items he is represented principally by symbols and images the Good Shepherd, the Light, the Vine, Alpha and Omega, and so on; these have proved to be potent and enduring metaphors. The authors go on to show how a concern with his 'true likeness' emerged, based on miraculous 'true' images - particularly the 'Veronica' image - the likeness Christ imprinted on the cloth held out to him by Saint Veronica on the way to Calvary.Also illustrated are a number of works focusing on Christ's childhood, which confront the problem of representing the paradox of his dual nature as someone who is weak and powerful, victim and victor. The discussion of the iconography of the Passion demonstrates how, from a devotional point of view, images of Christ's suffering could induce a sense of sorrow for sin and gratitude to God. Finally, the authors look at how artists have translated into the images the idea that Christ lives on, and that the teachings and events of his life continue to have a profound impact.
It is at this exhibition that I saw a huge blown up version of Gaudi's Christ of St John.

http://www.amazon.co.uk/Image-Christ...ef=pd_sim_b_12
Clivedurdle is offline  
Old 08-05-2009, 02:54 PM   #45
Contributor
 
Join Date: Mar 2004
Location: Dallas, TX
Posts: 11,525
Default

Quote:
Originally Posted by Clivedurdle View Post
Quote:
Christian Art

What makes a work of art Christian - is it in the eye of the artist or the viewer? How was Christian art created and sustained over two millennia? And what is its relationship to the art of other great world religions? These are some of the fascinating questions discussed in this innovative and thoughtful book about our understanding of Christian art today, in which the author treats the art as a response to universal human themes: relationships between women and men, food as an expression of friendship, refugees seeking asylum, coping with old age. Drawing extensively on the international collections of the British Museum, these contemporary themes are followed through a wide range of objects, from pilgrim tokens to ivory figurines and gold and enamel reliquaries, and from a rich selection of prints and drawings to Byzantine, Greek and Russian icons. Stunning examples of the decorative arts yield original and lesser-known Christian iconography as well as significant paintings and chur
http://www.britishmuseumshoponline.org/invt/cmc50536

Quote:
  • Christian Art
  • Author: Rowena Loverance
  • ISBN: 9780714150536
  • Number of pages: 248
  • Size: 246x189mm
  • llustrations: 160 colour
From the Amazon synopsis, it seems this also is 4th century+:

Rowena Loverance draws extensively on the vast international collections of the British Museum, with its remarkable examples of Christian art in the fourth-century Roman empire, the meeting of Eastern and Western art during the Crusades, Christian missionary art and its reception in sixteenth-century Africa, India, and Japan, and twentieth-century Christian popular art from Latin America and Oceania.
spamandham is offline  
Old 08-05-2009, 09:15 PM   #46
Veteran Member
 
Join Date: May 2008
Location: AUSTRALIA
Posts: 2,265
Thumbs up

Quote:
Originally Posted by bacht View Post
Quote:
Originally Posted by IamJoseph View Post
There is absolutely no good motive to associate Jews with the cross - which mass murdered more innocent humans than any other sign.
I think this dubious distinction might belong to the Communist hammer-and-sickle, with the Nazi swastika in second place.
Check history. The Catholic church murdered more humans than all the rest of the world's murders combined. The massacres of medevial Europe, far greater than Rome, Babylon and the Egyptians, stemmed only when a refuge in America was discovered and Napoleon dislodged the church rule. The Catholic church returned, proclaiming genocide and causing the Holocaust in the last century:

'WE WILL NEVER SUPPORT THE RETURN OF THE JEWS TO *THEIR HOMELAND* - BECAUSE THEY REJECTED JESUS' - Pope not so Pius.
IamJoseph is offline  
Old 08-06-2009, 12:30 AM   #47
Veteran Member
 
Join Date: Jun 2005
Location: Mornington Peninsula
Posts: 1,306
Default

Quote:
Originally Posted by spamandham View Post
Quote:
Originally Posted by youngalexander View Post
Not only does jesus not appear upon the cross, he does not appear at all in early christian art!
Neither does his mum?
After a bit of searching around, I'm having a hard time finding a good reference for the earliest Christian art. Do you know a good one?
Here are a the major refs from a previous post - (refs at bottom)

Also topical is a little research I did some time back from Jensen Understanding Early Christian Art (pg#, par) & [pg, notes]

Q5
(133) Theories regarding the absence of crucifixion images
(133, 1) 1. EC too squeamish to contemplate such images [203, 5, 6]
(133, 2) or artists too reluctant to portray [203, 5, 9]
(134, 2) 2. barbaric punishment reserved for criminals [203, 5, 10/11], [204, 5, 12]
(134, 3) 2ndC apologists on crucifixion [204, 5, 13/14]
(134, 5) 3a. gnostic or docetic Christology (135, 2). 3b. “popular” adoptionist Christology
(135, 3) Snyder’s A-P adoptionist theory
(135, 5) incompatibility b/w art & theology & (136, 6)
(136, 1) apologists speak of cross [205, 5, 17-20]; epistles death of Christ [205, 5, 21]
(137, 1) inadequacy of prior explanations – it’s more subtle; anyone for MJ?
youngalexander is offline  
Old 08-06-2009, 06:49 AM   #48
Veteran Member
 
Join Date: Aug 2008
Location: Canada
Posts: 2,305
Default

Quote:
Originally Posted by IamJoseph View Post
Quote:
Originally Posted by bacht View Post

I think this dubious distinction might belong to the Communist hammer-and-sickle, with the Nazi swastika in second place.
Check history. The Catholic church murdered more humans than all the rest of the world's murders combined. The massacres of medevial Europe, far greater than Rome, Babylon and the Egyptians, stemmed only when a refuge in America was discovered and Napoleon dislodged the church rule. The Catholic church returned, proclaiming genocide and causing the Holocaust in the last century:

'WE WILL NEVER SUPPORT THE RETURN OF THE JEWS TO *THEIR HOMELAND* - BECAUSE THEY REJECTED JESUS' - Pope not so Pius.
Well, for one thing there were a lot more people alive in recent times than in pre-modern. Secondly the 20th C totalitarians had modern technology available for mass detention and execution. And in the case of the Roman Catholic church the calculation should include the social services and education they provided before the rise of modern states. I'm guessing the Muslim conquests of the 7th - 10th C yielded a substantial casualty roll, and there were the Asian hordes over the years (Goths, Huns, Mongols, Turks et al)

Accusing the RCC of "causing the Holocaust" is a bit silly, there were other forces at work in 19th and early 20th C Europe. Germany was split between Catholics and Protestants anyway, and the papacy had only a shadow of its former status.

Between the 12th and 18th C Jews were expelled from most of Western Europe and migrated east. You can't just blame the church for this, anti-semitism was common. Considering that Jews were prohibited from owning real estate for centuries it's not difficult to understand why they would desire a piece of property they could work themselves (Israel).

And you forgot to mention John Paul's visit to the Wailing Wall
http://www.adl.org/interfaith/JohnPaul_II_Visit.pdf
bacht is offline  
Old 08-06-2009, 10:34 AM   #49
Veteran Member
 
Join Date: Oct 2004
Location: Ottawa, Canada
Posts: 2,579
Default

Quote:
Originally Posted by Toto View Post
Saving Paradise: How Christianity Traded Love of This World for Crucifixion and Empire (or via: amazon.co.uk) by Rita Nakashima Brock and Rebecca Ann Parker

Quote:
Originally Posted by amazon review
. . . Why are images of the crucified Christ absent from early Christian art? After visiting Mediterranean and European sites sacred to early Christians, Brock and Parker formulate a provocative answer: the dying Christ never appears in early Christian art because early Christians did not believe Christ’s redemptive death had opened a heavenly afterlife for the faithful. Rather, Brock and Parker assert, early Christians looked to Jesus as the exemplar who showed how to defy injustice by creating paradise on Earth in a loving community. In this theory, images of Christ’s passion and death invaded Christian art only when the Church started using a theology of otherworldly salvation to recruit the forces necessary to build a Christian empire. Skeptics may view with suspicion the authors’ willingness to substitute conjectural interpretations of art and heretical gnostic texts for plain readings of the orthodox biblical canon. . .
Also on Google Books

The thesis seems to have a lot in common with James Carroll's Constantine's Sword (or via: amazon.co.uk), but these authors do not cite that book.

These authors definitely have an agenda - but then so do most writers on Christianity.
As agendas go, this one seems quite silly. First, Christianity as a new religion was organized around Pauline teachings which had a notoriously tragic view of life (as is) and fantasized a posthumous one in its place based (I believe) on the experience of manic euphoria. So Pauline Christians definitely had no illusions of a kingdom of heaven on earth. Even if the Nazarene church (that Paul argued with) likely believed in the classical messainic kingdom come to earth, it is clear that that it was a recessive belief in the church that gave in wholly to the theology of heavenly redemption for earthly suffering.
Second, the absence of images of crucified Church does not relate to the denial of the cross, but to the interdiction of the second commandment prohibiting making of graven images of God, which the early church strictly observed. There are not only no images of crucified Christ in the first four centuries of Christianity, but any portrait of Christ that would have been sanctioned by the church. Eusebius wrote to the empress Constantia (Constantine's half-sister) who requested an image of Christ, that none exists as no true likeness of Christ could be captured by a painter.

Jiri
Solo is offline  
Old 08-06-2009, 11:19 AM   #50
Contributor
 
Join Date: Mar 2004
Location: Dallas, TX
Posts: 11,525
Default

Quote:
Originally Posted by Solo View Post
Second, the absence of images of crucified Church does not relate to the denial of the cross, but to the interdiction of the second commandment prohibiting making of graven images of God, which the early church strictly observed.
Given the early 3rd century evidence at Dura-Europos in regards to frescos depicting both Jewish and Christian icons (Jesus, Moses, Abraham, and possibly Mary), I don't think it follows that the early church was concerned with the 2nd commandment. Freedom from the law seems to be central to Paul's message.
spamandham is offline  
 

Thread Tools Search this Thread
Search this Thread:

Advanced Search

Forum Jump


All times are GMT -8. The time now is 10:00 AM.

Top

This custom BB emulates vBulletin® Version 3.8.2
Copyright ©2000 - 2015, Jelsoft Enterprises Ltd.