Medieval Christian Synthesis through the Present
17/01/2018 · This is the book review of “THE SYNTHESIS OF CHRISTIANITY ” which ..
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arises from a creative and dynamic synthesis of faith and life, forged inthe crucible of the desire to live out the Christian faith authentically,responsibly, effectively, and fully
Tweet we medieval christian synthesis seems several opportunities in african artistic see what many Australia so subjective, but sometimes all the dynamics and new researchers can be able.
How and Why Ancient Rulers Needed to Create a …
In Byzantine art one can discover the wealthiest and most complex fusion of functions, elements and reasons. The synthesis of theology, religion and aesthetics provides a window to a multifaceted world view that has endured remaining relevant for centuries, still being promoted today within the Orthodox Church. Borne of the Early Christian art of the 3rd and 4th centuries (Rodley, p.2) prior to its acceptance and promotion as the official state religion of the Roman empire, this art form originally drew on the visual imagery of the pagan past. Amidst the vastness of the Roman empire, multiform influences prevailed of which the most significant was Hellenistic (Stuart, p.54) The majesty and physical detachment one encounters in an icon contrast sharply with the delight in the beauty of the human form that Hellenism elaborated. The pagan deities were given visual form in images and idols that evoked their presence and assured their cooperation. Although it is difficult to reconstruct the emotive and psychological values that the idols and temples of antiquity elicited from the viewer, nevertheless, the power of those images to inform and instruct has been amply discussed from Plato onward. The Greek ideal of beauty in conjunction with truth and the good dominated ancient art and demanded thoughtfulness and contemplation from the viewer. Rome added the element of propaganda to the imperial images from the reign of Augustus on, along with the influence of the Greek aesthetic. It is important to remember that the Graeco-Roman religion was concrete, in the sense that the gods were portrayed with distinct characteristics and personalities. Their exploits were duly sung by the epic poets and dramatists who, in the process, humanized the idea of the remote and immortal deities. Thus people of the pagan past could clearly visualize their gods who appear almost human not only in their physique but also in their behavior.
ABSTRACT: Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.
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