Handmaids of God: Images of Service in the Lives of Merovingian Female Saints

2019 ◽  
Vol 43 (3) ◽  
pp. 359-379
Author(s):  
Lisa Kaaren Bailey
Keyword(s):  



Speculum ◽  
1999 ◽  
Vol 74 (1) ◽  
pp. 248-249
Author(s):  
Gail McMurray Gibson
Keyword(s):  


Hinduism ◽  
2021 ◽  
Author(s):  
Tyler Williams

Believed to have been founded by the saint-poet Svāmī Haridās (d. 1601?) in the late 16th or early 17th century, the Nirañjanī Sampradāy is one of the bhakti communities associated with the so-called nirguṇ sant movement that began in northern India sometime in the 15th century. The Sampradāy, which consists of both monastic initiates and lay followers, flourished during the 17th and 18th centuries in what is now Rajasthan, during which time it also established monastic outposts at locations as distant as Aurangabad and the Narmada River valley. Nirañjanī hagiographical traditions acknowledge the community’s early connections with the Nāth Sampradāya and with the Dādū Panth, another nirguṇ sant tradition that arose at roughly the same time as the Nirañjanī Sampradāy. These close connections are also reflected in the literature, theology, and practices of the sect, which combine Vaishnava bhakti with aspects of yoga as well as elements adapted from Sufi traditions. After the passing of Haridās, the monastic order expanded quickly in a decentralized fashion, with several of Haridās’s direct disciples founding monastic centers and lineages in different parts of Rajasthan (and eventually in Hyderabad as well). Among the later monastic disciples were several prominent saint-poets, including Santadās, Turasīdās, Manoharadās, Bhagavānadās, Dhyānadās, and Harirāmadās. Importantly, the Nirañjanīs also give prominence to Pannājī, an 18th-century female saint, and recognize several other female saints as being part of the tradition. Although the Nirañjanīs themselves were prolific writers, very little material by or about the Nirañjanīs is available in published form. This article lists the few original works of scholarship that have been produced on the Sampradāy in Hindi and in English along with any relevant primary sources that have been published.



Author(s):  
Елена Александровна Сирая

Настоящая публикация посвящена одной из актуальных проблем культурного и духовного взаимодействия Украины и Запада. Данное исследование направлено на выявление истоков новых иконографий, а также видоизменения традиционных иконографий Богоматери на Украине в XVIII-XIX вв. Поднят и рассмотрен вопрос об опосредованном влиянии западноевропейской культуры XVIII в. на духовную и художественную жизнь Украины на примере появления и развития иконографии образа Богоматери «Непорочное Зачатие». В контексте исторического положения рассмотрено проникновение католического понимания зачатия Девы Марии в сознание православных иерархов Украины. В свою очередь это повлекло появление иконографии «Непорочного Зачатия». Распространение в XVIII в. этой западной иконографии Богоматери отражало изменение общественного понимания данного образа. Выделены основные иконографические особенности типа «Immaculata Conceptio» и рассмотрены на примерах украинских Богородичных икон XVIII-XIX вв. В статье публикуются неизвестные широким массам изображения Богородичных икон редкой иконографии. Систематизация знаний в области изучения икон Богородицы данного периода на Украине поможет лучше представить общую картину развития иконографии Богоматери. Данная статья может дополнить знания в области изучения памятников церковного искусства Нового времени и послужить иконографическим материалом для иконописцев и историков церковного искусства. The article is devoted to one of the topical №s of cultural and spiritual interaction between Ukraine and the West. This research is aimed to identify the origins of a new iconography as well as some modifications of a traditional iconography of the Mother of God in Ukraine in the XVIII-XIX centuries. It raises the question of an impact which the Western European culture had on a spiritual and artistic life in Ukraine in the XVIII century and how it mediated the creation and development of the iconography of the «Immaculate Conception» image of the Virgin. In the context of a historical situation, the penetration of the Catholic understanding of the conception of Virgin Mary in the minds of Orthodox Ukrainian hierarchs is considered. In its turn, it led to the formation of the «Immaculate Conception» iconography. The spread of a Western iconography of the Mother of God in the XVIII century reflected a change in public understanding of this image. The main iconographic features of the «Immaculata Conception» type are shown through the examples of Ukrainian icons of the Mother of God of the XVIII-XIX centuries. The article presents images of some rare dipterous icons whose iconography isquite unknown to the masses. Structuring the knowledge of Ukrainian icons of the Mother of God in the mentioned period might help to present more fully a process of iconographic development of the Mother of God images. This article could also complement to the research done in the field of studying modern Church art monuments and serve as an iconographic material for icon-painters and Church art historians.



2003 ◽  
Vol 33 (1) ◽  
pp. 131-141
Author(s):  
A. S. G. Edwards


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