The Assumption of the Virgin, with the Nativity, the Resurrection, the Adoration of the Magi, the Ascension of Christ, Saint Mark and an Angel, and Saint Luke and an Ox

Este artigo1 visa compreender o significado dos termos misericórdia e justiça no Evangelho de Lucas. No encontro de Jesus com a viúva de Naim, marcado pela misericórdia/justiça, pode-se averiguar a riqueza semântica da narrativa lucana. Observa-se que no horizonte teológico de Lucas a misericórdia está imbricada a justiça, pois, ao agir com misericórdia para com a viúva, Jesus está cumprindo a justiça de Deus. A teologia lucana conduz seu leitor a perceber que, para Jesus, misericórdia significa “vontade de salvar”; por isso ele age com compaixão, “comovendo-se”. Nota-se em Lucas que o termo hebraico HeSeD, de léxico grego ἐσπλαγχνίσθη [esplanchnisthē], pode ser traduzido por “compadeceu-se”. Ao devolver a vida ao jovem, Jesus recupera a esperança da viúva, suprimida pelo desalento. Sua açao, da misericórdia para a misericórdia/justiça, revolve o coração da mulher viúva de Naim; o ato transformador desempenhado por Jesus remove o desalento, a dor e devolve o alento e a alegria. Na obra lucana, ele age com misericórdia/justiça para com todos os que estão na dor, na morte ou em qualquer realidade injusta. Ele e o novo profeta de Israel que instaura a misericordia/justica de Deus (Lc 7,16). Abstract: The aim of this article is to understand the meaning of the term’s mercy and justice in the gospel of Luke. In the encounter of Jesus with the widow of Naim, marked by mercy/justice, one can ascertain the semantic richness of the Lucan narrative. In Luke, it is observed that in his theological horizon, mercy is interwoven with justice, because in acting with mercy towards the widow, Jesus is fulfilling the justice of God. Lucan theology leads its reader to realize that, for Jesus, mercy means “will to save”, that is why he acts with compassion, with pity. It is noted in Luke that the Hebrew term HeSeD, from the Greek lexicon ἐσπλαγχνίσθη [esplanchnisthē], can be translated as “having pity on”. By returning the young man to life, Jesus revives the hope of the widow, suppressed by discouragement. The action of Jesus, from mercy to mercy/justice, enraptures the heart of the widowed woman of Nain. The transforming act performed by Jesus removes discouragement, pain and returns vigor and joy. In the Lucan work, Jesus acts with mercy/justice towards all who are in pain, in death or in any unjust reality. He is the new prophet of Israel who establishes God’s mercy/justice (Lk 7,16).Keywords: Gospel of Saint Luke; Mercy; Justice; Compassion.

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The image of Paradise in «The Sermon on the Annunciation to the Holy Virgin» by Ioanikii Galiatovskii

Text and Image Essential Problems in Art History ◽

10.17721/2519-4801.2019.2.03 ◽

2019 ◽

pp. 44-50

Author(s):

Liliia Bomko

Keyword(s):

Hierarchical Structure ◽

Visual Art ◽

Biblical Text ◽

Human Soul ◽

Biblical Story ◽

The Hierarchical Structure ◽

Assumption Of The Virgin

The article attempts to analyse the image of paradise in “The Sermon on the Annunciation of the Holy Virgin" from the collection "The Key of Understanding" (1659) by Ioanikii Galiatovskii. Paradise in his sermon is depicted as a hierarchical structure of the nine Angelic Choirs: the Angels, the Archangels, the Principality, the Authority, the Mastery, the Parish, the Throne, the Cherubim, and the Seraphim. Comparing the angelic choirs of Galiatovskii and the depiction of celestial choirs in «The Mirror of Theology» (1618) by Cyryl Trankvylion Stavrovetskyi, one can see some differences, including a change in the sequence of arrangement of angelic choirs and in the semantics of names, which Galiatovskii supplements with explanations of the saints' presence on all choirs. The theme of the Annunciation that becomes the beginning of the salvation of the human soul is brought closer to the understanding of paradise. If one compares the preaching on Gospel with a painting one can easily grasp substantial differences in the interpretation. Galiatovskii does not follow the biblical story of the Annunciation, which tells how did the Archangel Gabriel appear to the Holy Virgin and inform her of the birth of Christ. Instead, he interprets this event in anagogical (spiritual sense), describing paradise and the Blessed Virgin in a similar way. Visual art closely follows the biblical text when depicting the Annunciation – the Holy Virgin and the Archangel, who holds a white lily that means god news, are surrounded by several tiny angels that are holding a white lily flower (like in the painting by the French artist Philip de Champaign "Annunciation", 1644). Interestingly, the interpretation of the Annunciation in Ioanikii Galiatovskii’s writing is close to the theme of the Assumption. One might mention the painting "Assumption of the Virgin" (1475 - 1476) by the Italian artist Francesco Botticini, who depicted the Holy Virgin standing next to the hierarchical structure of the nine Angelic Choirs.

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Maria-Ecclesia and the Meaning of Marriage in the Late 13th Century

Acta ad archaeologiam et artium historiam pertinentia ◽

10.5617/acta.5535 ◽

2017 ◽

Vol 21 ◽

pp. 153-169 ◽

Cited By ~ 1

Author(s):

Marilyn Aronberg Lavin

Keyword(s):

Thirteenth Century ◽

13Th Century ◽

Human Love ◽

Sexually Explicit ◽

The Church ◽

Visible Human ◽

Assumption Of The Virgin

By the end of the thirteenth century, the Church of Rome defined human marriage as incomplete before consummation in virtuous carnal intercourse. This article focuses on Cimabue’s emotionally charged and sexually explicit fresco representation of the Assumption of the Virgin, and shows that its stylistic verisimilitude makes visible human love as proof of the spiritual miracle of the Mystic Marriage of Christ and Maria-Ecclesia.

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15 August 2007 • Assumption of the Virgin Mary

Homily Service An ecumenical resource for sharing the word ◽

10.1080/07321870701404835 ◽

2007 ◽

Vol 40 (9) ◽

pp. 23-31

Keyword(s):

Virgin Mary ◽

Assumption Of The Virgin

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Cum iubilationibus et dulci symphonia: The Assumption of the Virgin Mary in Bruder Philipp's 'Marienleben' Cum iubilationibus et dulci symphonia: Die Darstellung der Himmelfahrt Mariens in Bruder Philipps 'Marienleben'

Zeitschrift fuer deutsches Altertum und Literatur ◽

10.3813/zfda-2019-0004 ◽

2019 ◽

Vol 148 (1) ◽

pp. 85-101

Author(s):

Christina Ostermann

Keyword(s):

Virgin Mary ◽

Assumption Of The Virgin

This paper examines the narrative of the Assumption of the Virgin Mary as depicted by Bruder Philipp in his religious epic 'Marienleben' around 1300. By comparing the episode to its source, the 'Vita rhythmica', and reading it against Philipp's Carthusian background, this paper aims to bring to light various techniques of adaptation. The article will show how Philipp both condenses his source by restructuring it while at the same time expands it by drawing on his liturgical background to adapt relevant passages connected to the feast of the Assumption. Kurzfassung: Der Aufsatz untersucht die Darstellung der Himmelfahrt Mariens in Bruder Philipps 'Marienleben', einem geistlichen Epos um 1300. Indem die Episode zum einen im Vergleich mit ihrer Vorlage, der 'Vita rhythmica', und zum anderen vor dem kartusianischen Hintergrund des Autors gelesen wird, werden Bearbeitungstechniken herausgearbeitet. Es soll gezeigt werden, auf welche Weise Bruder Philipp seine Quelle verdichtet und sie zugleich erweitert, indem er für die Liturgie des Assumptio-Festes relevante Passagen an seinen liturgischen Hintergrund anpasst.

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