Chris Pinney demonstrates how printed images were pivotal to India's struggle for national and religious independence. He also provides a history of printing in India.

Explores some of the images which biblical writers use to teach about God; images include light, rock, and wind as well as a gardener, father, and architect.

The Bible describes God in many different ways: God is light; God is joy; God is wisdom. God is the beauty that fills the earth and the rock we stand on, the promises we live by and the fire that purifies us. This volume offers a collection of these images, presented in simple language that young readers can easily understand. This book's bright artwork and lyrical text, written by the bestselling author of Psalms for Young Children, explores how, even though we cannot see or touch God, we can still discover him in our world.

Keel and Uehlinger's unique study brings the massive Palestinian archaeological evidence of 8,500 amulets and inscriptions to bear on these questions. Vindicating the use of symbols and visual remains to investigate ancient religion, the authors employ iconographic evidence from around 1750 B.C.E. through the Persian period (c. 333 B.C.E.) to reconstruct the emergence and development of the Yahweh cult in relation to its immediate neighbors and competitors. They also fully explore whether female characteristics were present in the early Yahweh figure and how they might have evolved in Israelite religion. Keel and Uehlinger's major study marks the maturation of iconographical studies and affords an exciting glimpse into the vibrant religious life of ancient Canaan and Israel.

Shamans walking on knives, fairies riding on clouds, kings with dragon mounts: They are gods and they are paper images. Some are repulsed and unsettled by shaman paintings, some cannot stop collecting them, and some use them as sites of veneration. Laurel Kendall, Jongsung Yang, and Yul Soo Yoon explore what it is that makes a Korean shaman painting magical or sacred. How does a picture carry the trace of a god and can it ever be “just a painting” again? How have shaman paintings been revalued as art? Do artfulness and magic ever intersect? Does it matter, as a matter of market value, that the painting was once a sacred thing? Navigating the journey shaman paintings make from painters’ studios to shaman shrines to private collections and museums, the three authors deftly traverse the borderland between scholarly interests in the material dimension of religious practice and the circulation of art. Illustrated with sixty images in color and black and white, the book offers a new vantage point on “the social life of things.” This is not a story of a collecting West and a disposing rest; the primary collectors and commentators on Korean shaman paintings are South Koreans re-imagining their own past in light of their own modernist sensibility. It is a tale told with an awareness of both recent South Korean history and the problematic question of how the paintings are understood by different South Korean actors, most particularly the shamans and collectors who share a common language and sometimes meet face-to-face.

ccording to Scripture, humankind was created in the image of God. Hoekema discusses the implications of this theme, devoting several chapters to the biblical teaching on God's image, the teaching of philosophers and theologians through the ages, and his own theological analysis. Suitable for seminary-level anthropology courses, yet accessible to educated laypeople. Extensive bibliography, fully indexed.

This fresh approach to theological anthropology applies patristic wisdom to contemporary discussions of what it means to be human.

How can we, in our times, understand the biblical concept that human beings have been created in the image of an invisible God? This is a perennial but increasingly pressing question that lies at the heart of theological anthropology. Humanity in God's Image: An Interdisciplinary Exploration clarifies the meaning of this concept, traces different Jewish and Christian interpretations of being created in God's image, and reconsiders the significance of the imago Dei in a post-Holocaust context. As normative, counter-factual notions, human dignity and the imago Dei challenge us to see more. Claudia Welz offers an interdisciplinary exploration of theological and ethical 'visions' of the invisible. By analysing poetry and art, Welz exemplifies human self-understanding in the interface between the visual and the linguistic. The content of the imago Dei cannot be defined apart from the image carrier: an embodied creature. Compared to verbal, visual, and mental images, how does this creature as a 'living image' refer to God--like a metaphor, a mimetic mirror, or an elusive trace? Combining hermeneutical and phenomenological perspectives with philosophy of religion and philosophy of language, semiotics, art history, and literary studies, Welz regards the imago Dei as a complex sign that is at once iconic, indexical, and symbolical--pointing beyond itself.