scholarly journals Sophia's theme in world and national spirituality

2004 ◽  
pp. 86-95
Author(s):  
Yevgen A. Harkovschenko

The Sophia tradition was formed in European philosophical and religious creativity and was developed in the pre-Christian period by Plato. Then it was reflected in Gnosticism and Neo-Platonism, the writings of prominent theorists of Christianity - fathers and teachers of the church, mystics of the Middle Ages. This tradition was reflected in the temple architecture and iconography of the Orthodox East, and took a systematic form of the doctrine of sophiology in the "philosophy of unity." The doctrine of Sophia the Wisdom of God is set forth in the biblical book of the parables of the Solomons, as well as in the non-canonical books of the Old Testament - the Wisdom of Solomon and the Wisdom of Jesus the son of Sirach. In Ukraine, Sofia teaching has been known since medieval times and was a feature of Kyiv Christianity.

2006 ◽  
Vol 10 (2) ◽  
pp. 161-190
Author(s):  
Matthew Reeve

AbstractThe former painted cycle over the vaults of Salisbury Cathedral represents one of the great losses of thirteenth-century English art. This paper focuses on the imagery over the three-bay choir, which features twentyfour Old Testament kings and prophets each holding scrolls with texts prefiguring the Coming of Christ. The content of the cycle derives from a sermon, well known in the Middle Ages, by Pseudo-Augustine: Contra Judaeos, Paganos et Arianos. Yet the most immediate sources lie in twelfth and thirteenth-century extrapolations of the Pseudo-Augustinian sermon in liturgical drama, the so-called Ordo Prophetarum, or prophet plays. This observation leads to a discussion of the relationship of imagery to its liturgical setting. It is argued that the images on the choir vaults were also to be understood allegorically as types of the cathedral canons, who originally sat in the choir stalls below. A reading of the choir as a place of prophecy is located within traditions of liturgical commentary, which allegorize processions through churches as processions through Christian history. This leads to a discussion of the allegorization of the church interior in the Gothic period.


2007 ◽  
Vol 100 (3) ◽  
pp. 249-274 ◽  
Author(s):  
Jesse Rainbow

A widespread early Christian tradition regarded Solomon as the great exorcist and magician of antiquity, the forerunner of the exorcistic activity of Jesus, and the genius of later Christian magic and divination. In time, this tradition (henceforth the “Solomon magus” tradition) would become increasingly syncretistic and would yield the numerous grimoires and claviculae of the Middle Ages, but in the early centuries of Christianity, the tradition produced texts which were more or less haggadic, that is, engaged in the exegesis of canonical materials and rooted in earlier Jewish interpretive traditions. Modern students of the documents of this tradition have long perceived its debt to the Old Testament, particularly to the portrait of Solomon in 1 Kgs 5:9–14 (4:29–34), a text which both traditional Christian and modern critical interpreters have subsequently explained in nonmagical terms. While Solomon's magical identity is widely recognized to be inspired by the biblical description of his greatness, little is known about how readers in the Solomon magus tradition interpreted the canonical books of traditional Solomonic authorship—the Song of Songs, Proverbs, Ecclesiastes and the Wisdom of Solomon.


Author(s):  
Olivier Guyotjeannin

This chapter examines administrative documents of the Middle Ages and the major scholarly studies of them. It surveys the number of preserved documents and the problems surrounding the lack of documents in different periods and places. The author discusses the role and influence of the Church in the increased production and preservation of documents beginning in the eleventh century, leading to an enormous increase in the production of documents during the last three centuries of the Middle Ages.


Antiquity ◽  
1953 ◽  
Vol 27 (105) ◽  
pp. 15-19 ◽  
Author(s):  
Humphrey Humphreys

Though everyone now agrees that the unicorn never existed, this unanimity is quite recent. All through the 19th century there were periodic reports of its presence in darkest Africa or on the Asiatic steppes, and hopes that it would turn out to be a reality died hard. But if there never was such a creature why did the men of the Middle Ages believe in it so firmly and depict it so often? As Christians it was incumbent on them to do so, for it was mentioned in the Old Testament and, therefore, must be real. Its presence there was due to the authors of the Septuagint, the Hellenised Jews who, at Alexandria, in the centuries between the city's foundation and the Christian era, translated their sacred books from Hebrew into Greek and on seven occasions used the word μονόκερως (Greek for unicorn).


Traditio ◽  
2013 ◽  
Vol 68 ◽  
pp. 259-276
Author(s):  
D. Dudley Stutz

In 1232 Pope Gregory IX (r. 1227–41) imposed a tenth of episcopal revenues on prelates of Occitania to subsidize the church of Valence, which owed 10,000 poundstournoisto various bankers of Vienne, Rome, Lyons, and Siena. In 1865 B. Hauréau first noted the event when he edited one of the main documents in theGallia christianavolume concerning the ecclesiastical province of Vienne. With the publication of Gregory IX's register from 1890–1908 most of the facts of the tax were more widely available. In 1910 Ulysse Chevalier briefly mentioned the tax in his monograph on the long tenure of John of Bernin, archbishop of Vienne (r. 1218–66). In 1913, Heinrich Zimmermann cited Hauréau's text in a note in his detailed treatment of early thirteenth-century papal legations. Recently Alain Marchandisse reviewed eight of the eleven papal letters pertaining to the tax in his study of William of Savoy (d. 1239) as bishop-elect of Liège. These scholars provided no reason for the debt or why the papacy would take such measures to ensure payment. Perhaps they did not study this tax further because a church indebted to moneylenders is not in itself surprising. It appears that the church of Valence acquired the debt, very large compared to the church's income, when bishop-elect William of Savoy (r. 1225–39) waged war against Adhémar II of Poitiers-Valentinois, count of the Valentinois (r. 1189–1239). Struggles between bishops and the local nobility occurred on a regular basis throughout the Middle Ages, so what in this unimportant Rhone-valley diocese interested the pope enough to impose taxes on prelates of Occitania over twenty years to ensure payment of this debt? Adhémar II faithfully supported Raymond VI (r. 1194–1222) and Raymond VII (r. 1222–49) of Saint-Gilles, counts of Toulouse, throughout their struggle with the papacy during and following the Albigensian crusades. Adhémar II was also their vassal for the Diois, which borders the Valentinois on the southeast and comprised the northern portion of the marquisate of Provence. These lands had been reserved for the church in the Treaty of Meaux-Paris (1229), which ended the Albigensian crusades. Thus William of Savoy as bishop-elect of Valence defended the papacy's claims on the marquisate of Provence, which the papacy deemed part of the larger struggle between the Roman church and the counts of Toulouse. The facts on the nature of the debts and the steps the papacy took to aid the diocese show that the local struggle between the bishop of Valence and the count of the Valentinois embodied a part of the larger struggle between the papacy and the counts of Toulouse over the marquisate of Provence, which began as early as 1215.


1984 ◽  
Vol 13 ◽  
pp. 65-96 ◽  
Author(s):  
Mildred Budny ◽  
Dominic Tweddle

Among the relics in the treasury of the church of St Catherine at Maaseik in Limburg, Belgium, there are some luxurious embroideries which form part of the so-called casula (probably ‘chasuble’) of Sts Harlindis and Relindis (pls. I–VI). It was preserved throughout the Middle Ages at the abbey church of Aldeneik (which these sister-saints founded in the early eighth century) and was moved to nearby Maaseik in 1571. Although traditionally regarded as the handiwork of Harlindis and Relindis themselves, the embroideries cannot date from as early as their time, and they must have been made in Anglo-Saxon England. Indeed, they represent the earliest surviving examples of the highly prized English art of embroidery which became famous later in the Middle Ages as opus anglicanum.


1973 ◽  
Vol 63 (4) ◽  
pp. 365
Author(s):  
G. ◽  
J. Gilchrist

Author(s):  
David Luscombe

This chapter discusses the contributions that were made by former Fellows of the Academy to the study of the medieval church. It states that the history of the medieval church is inseparable from the general history of the Middle Ages, since the church shaped society and society shaped the church. The chapter determines that no hard and fast distinction can always be made between the works by ecclesiastical historians during the twentieth century, and the contributions made to general history by other historians.


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