The book examines the process of symbolic and material alteration of religious images in antiquity, the middle ages and the modern period. The process by which the form and meaning of images are modified and adapted for a new context is defined by a large number of spiritual, religious, artistic, geographical or historical circumstances. This book provides a defined theoretical framework for these symbolic and material alterations based on the concept of iconotropy; that is, the way in which images change and/or alter their meaning. Iconotropy is a key concept in religious history, particularly for periods in which religious changes, often turbulent, took place. In addition, the iconotropic process of appropriating cult images brought with it changes in the materiality of those images. Numerous accounts from antiquity, the middle ages and the modern period detail how cult images were involved in such processes of misinterpretation, both symbolically and materially. The book will be of interest to scholars working in art history, visual culture and religious history.

The book examines the process of symbolic and material alteration of religious images in antiquity, the middle ages and the modern period. The process by which the form and meaning of images are modified and adapted for a new context is defined by a large number of spiritual, religious, artistic, geographical or historical circumstances. This book provides a defined theoretical framework for these symbolic and material alterations based on the concept of iconotropy; that is, the way in which images change and/or alter their meaning. Iconotropy is a key concept in religious history, particularly for periods in which religious changes, often turbulent, took place. In addition, the iconotropic process of appropriating cult images brought with it changes in the materiality of those images. Numerous accounts from antiquity, the middle ages and the modern period detail how cult images were involved in such processes of misinterpretation, both symbolically and materially. The book will be of interest to scholars working in art history, visual culture and religious history.

This study examines the theories of postmodern visuality and representation and identifies concepts that resonate with Orthodox theology and iconography. C.A. Tsakiridou frees the Orthodox icon from iconological precepts that limit its aesthetic and expressive range. The book’s key argument is that poststructuralist thought is not alien to Orthodox theology and iconography. Dissonance, liminality, and ambiguity are essential for conveying the paradoxes of Christian faith and recognizing the hagiopneumatic vitality and openness of the Orthodox tradition. Perichoresis or coinherence, a concept in patristic theology that defines the relationship between the three persons of the Holy Trinity and the two natures of Christ, acquires a feminine dimension in the person of the Theotokos. Like the ascetical concept of nepsis, it has aesthetic implications. Intermedial qualities present in iconography, photography, and cinema help explain how icons become hosts to transcendent realities and how their experience in Orthodox liturgy and devotion has anticipated and resolved the postmodern disorientation of visuality and representation. The book will be of interest to scholars working in art history, postmodernism, philosophy, theology, religion, and gender studies.

This book focuses on the earliest surviving Christian icons, dated to the sixth and seventh centuries, which bear many resemblances to three other well-established genres of ‘sacred portrait’ also produced during late antiquity, namely Roman imperial portraiture, Graeco-Egyptian funerary portraiture and panel paintings depicting non-Christian deities. Andrew Paterson addresses two fundamental questions about devotional portraiture – both Christian and non-Christian – in the late antique period. Firstly, how did artists visualise and construct these images of divine or sanctified figures? And secondly, how did their intended viewers look at, respond to, and even interact with these images? Paterson argues that a key factor of many of these portrait images is the emphasis given to the depicted gaze, which invites an intensified form of personal encounter with the portrait’s subject. The book will be of interest to scholars working in art history, theology, religion and classical studies.

Arboreal Symbolism in European Art, 1300–1800 probes the significance of trees in religious iconography of Western art. Based in the disciplines of art history, botany, and theology, this study focuses on selected works of art in which tree forms embody and reflect Christian themes. Through this triple lens, Brown examines trees that early modern artists rendered as sacred symbols—symbols with origins in the Old Testament, New Testament, Greek and Roman cultures, and early medieval legends. Tree components and wood depicted in works of art can serve as evidence for early modern artists’ embrace of biblical metaphor, classical sources, and devotional connotations. The author considers how artists rendered seasonal change in Christian narratives to emphasize themes of spiritual transformation. Brown argues that many artists and their patrons drew parallels between the life cycle of a tree and events in the Gospels with their respective annual, liturgical celebrations. This book will interest scholars in art history, religion, humanities, and interdisciplinary studies.

This book explores the issue of ecclesiastical authority in Romanesque sculpture on the portals and other sculpted “gateways” of churches in the north Italian region of Lombardy. Gillian B. Elliott examines the liturgical connection between the ciborium over the altar (the most sacred threshold inside the church), and the sculpted portals that appeared on church exteriors in medieval Lombardy. In cities such as Milan, Civate, Como, and Pavia, the liturgy of Saint Ambrose was practiced as an alternative to the Roman liturgy and the churches were constructed to respond to the needs of Ambrosian liturgy. Not only do the Romanesque churches in these places correspond stylistically and iconographically, but they were also linked politically in an era of intense struggle for ultimate regional authority. The book considers liturgical and artistic links between interior church furnishings and exterior church sculptural programs, and also applies new spatial methodologies to the interior and exterior of churches in Lombardy. The book will be of interest to scholars working in art history, medieval studies, architectural history, and religious studies.

The White Goddess is perhaps the finest of Robert Graves's works on the psychological and mythological sources of poetry. In this tapestry of poetic and religious scholarship, Graves explores the stories behind the earliest of European deities—the White Goddess of Birth, Love, and Death—who was worshipped under countless titles. He also uncovers the obscure and mysterious power of "pure poetry" and its peculiar and mythic language.

In much of the scholarship on Paul, activities such as speaking in tongues, prophecy, and miracle healings are either ignored or treated as singular occurrences. Typically, these practices are categorized in such a way that shields Paul and his followers from the influence of so-called paganism. In Signs, Wonders, and Gifts, Jennifer Eyl masterfully argues that Paul did, in fact, engage in range of divinatory and wonder-working practices that were widely recognized and accepted across the ancient Mediterranean. Eyl redescribes, reclassifies, and recontextualizes Paul's repertoire vis- -vis such widespread, similar practices. Situating these activities within the larger framework of reciprocity that dominated human-divine relationships in antiquity, she demonstrates that divine powers and divine communication were bestowed as benefactions toward Paul and his gentile followers in proportion to their faithfulness and loyalty.

From the pioneering work of eighteenth-century painter Toriyama Sekien to contemporary superstar Takashi Murakami, Japan Supernatural presents wildly imaginative works by Japanese artists past and present and takes readers on a journey of discovery through the astonishing array of yōkai culture and yūrei (ghosts)--phenomenal beings from fiendish goblins to mischievous shapeshifters--that have inhabited Japanese culture for centuries. Once a means of explaining the unexplainable, they have been kept alive in stories and artworks. Evolving into a form of entertainment ranging from horror to the comical, they have maintained an ongoing presence in Japanese novels, films, anime, manga, and games. Drawn from around the world, the artworks illustrated in Japan Supernatural date from the eighteenth to the twenty-first century and include fantastically detailed ukiyo-e woodblock prints, miniature netsuke, wall-sized scrolls, and large-scale contemporary photographs, paintings, and installations. Some of the greatest Japanese artists of the past, including Katsushika Hokusai, Utagawa Kuniyoshi, Tsukioka Yoshitoshi, and Kawanabe Kyosai, are featured alongside contemporary artists such as Chiho Aoshima, Miwa Yanagi, and Takahashi Murakami, who update the tradition for the present.

The art and iconography of the Minoan civilisation of Bronze Age Crete is rightly described as having a refreshing vitality with a fortunate combination of stylisation and spontaneity in which the artist is able to transform conventional imagery into a personal expression. The dynamism, torsion and naturalism evident in Minoan art stands in stark contrast to the hieratic rigidity of other ancient civilisations, and nowhere is this more apparent than in the iconography of the Minoan Epiphany, a set of mainly glyptic (rings, seals, and seal impression) images which appear to depict religious celebrants experiencing direct and seemingly ecstatic encounters with deities. This collection of essays explores this central aspect of Minoan religion, taking a strongly archaeological focus to allow the artefacts to speak for themselves, and moving from traditional ‘representational’ interpretations into ‘embodied’ perspectives in which the ecstatic capabilities of the human body throw new light on Aegean Bronze Age ritual practices. Such ideas challenge rather passive assumptions modern Western observers hold about the nature of religious feelings and experiences, in particular the depictions of altered states of consciousness in ancient art, and the visionary potential of dance gestures. Speculative asides on the potential for a Minoan origin for Classical Greek humanism, and hints in the imagery on ancient Cretan conceptions of the cosmos, are set against sound archaeological theories to explain this lively and dynamic corpus of images. Beautifully illustrated with images and sketches of the relevant artefacts, this wide-ranging volume will stimulate audiences with archaeological, prehistorical and spiritual interests, as well as historians of religion and art. ‘The Minoan Epiphany’ also represents an influential antecendent to the Visionary Humanist philosophy which forms the majority of Bruce’s current independent research interests.