scholarly journals The Jerusalem Temple in Luke-Acts

2004 ◽  
Vol 60 (1/2) ◽  
Author(s):  
N.H. Taylor
Keyword(s):  
Holy Spirit ◽  
Sacred Space ◽  
Second Temple ◽  
Divine Presence ◽  
Jerusalem Temple ◽  
Alternative Vision ◽  
The Holy Spirit ◽  
The Temple ◽  
The Church

Luke-Acts was written during the period after the destruction of the second temple, when, for most Jews, hopes for future restoration were conceived largely in terms of rebuilding the temple and city of Jerusalem and resuming the cultic life associated therewith. Against this background Luke poses an alternative vision, in which the divine presence associated previously with the [foreign font omitted] is seen no longer as localised but as dispersed. The Holy Spirit manifested in the life and expansion of the Church transcends and supersedes the notion of sacred space associated with the Zion traditions.

Climbing the Lampstand-Witness-Trees: Revelation's Use of Zechariah 4 in Light of Speech Act Theory

2011 ◽  
Vol 20 (1) ◽  
pp. 81-92
Author(s):  
Cullen Tanner
Keyword(s):  
Roman Empire ◽  
Holy Spirit ◽  
Speech Acts ◽  
Essential Element ◽  
Second Temple ◽  
First Century ◽  
Second Temple Judaism ◽  
The Holy Spirit ◽  
Witness Trees ◽  
The Church

AbstractThis article traces John's use of Zechariah 4 through its most likely first century perceptions in conjunction with the implicit ecclesial audience of Revelation. After placing the Apocalypse amid the atmosphere of Second Temple Judaism in the Roman Empire, it provides conjecture as to the theological implications of these speech acts on the Church of Revelation. These findings are then used to piece together the illocutionary force of John's use of Zechariah 4 and the resulting perlocution, which together comprise an essential element of the pneumatology that John supports in Revelation. When interpreting through such a lens, one ought to ask not only who the Spirit is but how this biblical author anticipated his audience to act in response to this document and to the Holy Spirit.

scholarly journals Duch miłości w nauczaniu Kardynała Stefana Wyszyńskiego

2020 ◽  
Vol 6 ◽  
pp. 24-39
Author(s):  
Sylwester Jaśkiewicz ◽  
Keyword(s):  
Holy Spirit ◽  
Life Experience ◽  
Human Life ◽  
Christian Identity ◽  
The Bible ◽  
God's Love ◽  
The Holy Spirit ◽  
Definition Of ◽  
The Temple ◽  
The Church

Cardinal Wyszyński continues teaching about the Holy Spirit as love and as a gift, which comes from the Bible and patristic tradition (eg St. Augustine). The basic text of his reflections on the God of Love are the words from the First Letter of St. John: “God is love” (1 Jn 4: 8, 16). He reads these words, or the shortest definition of God, from the perspective of the Christian and his life experience. In the Holy Spirit, God communicates as love. To be gifted and loved by God means for man to elevate him to the supernatural order. The Holy Spirit, who in the interior life of God is the Love of the Father and the Son, in his self-giving to the world (ad extra), pours God’s love into human hearts (Rom 5: 5), enlivens and dynamises human life. Love as a proprium of the Holy Spirit is also the criterion of Christian identity and of the Church. Important threads of the discussed issue are also the spiritual motherhood of Mary and the establishment of her as the Temple and Bride of the Holy Spirit.

scholarly journals The Meaning of «Oil Flowing onto Aaron’s Beard» (Psalm 132/133) in Traditional Jewish and Christian Exegesis

2020 ◽  
pp. 21-34
Author(s):  
Ириней Пиковский
Keyword(s):  
Holy Spirit ◽  
Jerusalem Temple ◽  
Masoretic Text ◽  
Clement Of Alexandria ◽  
Starting Point ◽  
John Chrysostom ◽  
The Holy Spirit ◽  
Songs Of Ascents ◽  
The Temple

Псалом 132 по Синодальному тексту (133 - по нумерации масоретского текста), является одной из пятнадцати «песней восхождения», входящих в состав Псалтири (Пс. 119-133). Данный псалом интересен литургической привязкой к ритуалу Иерусалимского храма, с которым его связывает упоминание о елее, сходящем на бороду Аарона (Пс. 132, 2). Автор использует метафору елея для усиления оттенка радости собратьев по вере, собравшихся в храм для совместной молитвы (ст. 1). Целью настоящего исследования является обзор методов интерпретации образа елея, сходящего на бороду Аарона в ранней еврейской и греческой языковых традициях толкования Священного Писания. Для этих целей проводится анализ метафоры елея в источниках иудейской экзегезы (Сифрей Бамидбар, Сифра, Талмуд, Мидраш Танхума) и христианской экзегезы (Климент Александрийский, Ориген, Афанасий Александрийский, Василий Кесарийский, Иоанн Златоуст, Феодорит Кирский). Далее на основе историко-филологического метода определяется место «елея» в содержании псалма по современным экзегетическим исследованиям. В результате было выявлено, что в источниках иудейской экзегезы значительное внимание уделяется поиску исторической основы помазания священства благовонным елеем в контексте обрядов Иерусалимского храма. Источники христианской экзегезы тяготеют к мессианской интерпретации гимна, в которой помазание Аарона миром толкуется как прообраз помазания Христа и верующих в Него Святым Духом. Итак, образ елея мог рассматриваться в древних религиозных традициях как отправная точка для актуальных на то время рассуждений о роли Аарона или Христа, а также об этических требованиях к кандидатам на помазание. Psalm 133 according the numeration of the Masoretic text, or 132 according the numeration of the Septuagint, is one of the fifteen «songs of ascents» (Psalms 119-133 - hereinafter numbering according to the Synodal text) that are part of the Book of Psalms. Рsalm 132 is interesting for its liturgical attachment to the ritual of the Jerusalem Temple, with which it is associated with the mention of «precious oil on the head, running down on the beard, on the beard of Aaron» (Ps. 132, 2 ESV). The author uses the «oil» metaphor to enhance the shade of joy of fellow believers gathered in the temple for prayer (v. 1). The purpose of this study is to review methods for interpreting the image of «oil falling on Aaron’s beard» in the early Jewish and Greek exegetical traditions. For these purposes, an analysis of the «oil» metaphor is carried out in the sources of the Jewish exegesis (Sifra Bamidbar, Talmud, Midrash Tanhuma) and the Christian exegesis (Clement of Alexandria, Origen, Athanasius of Alexandria, Basil of Caesarea, John Chrysostom, Theodore of Cyrus). Further, on the basis of the historical-philological method, the place of «oil» in the content of the psalm according to modern exegetical studies is determined. As a result, it was revealed that in the sources of Jewish exegesis was considerable attention to the search for the historical basis of the anointing of the priesthood with «incense oil» in the context of the rites of the Jerusalem temple. Sources of Christian exegesis lean toward a messianic interpretation of the hymn, in which the anointing of Aaron was interpreted as a prototype of the anointing of Christ and those who believe in Him with the Holy Spirit. Thus, the image of the «oil» could be considered as a starting point for discussions about the role of Aaron or Christ, as well as the ethical requirements for anointing candidates.

The Spirit in 1–2 Chronicles, Ezra-Nehemiah, and Esther

Pneuma ◽  
2021 ◽  
Vol 43 (3-4) ◽  
pp. 344-349
Author(s):  
Emma M. Austin ◽  
Jacqueline Grey
Keyword(s):  
Holy Spirit ◽  
Second Temple ◽  
Second Temple Period ◽  
The Holy Spirit ◽  
The Creation ◽  
The Temple

Abstract This article explores the ruach in the postexilic books of 1–2 Chronicles, Ezra-Nehemiah, and Esther. First, it examines the six clear (and one ambiguous) references to the Holy Spirit in these texts. It notes the consistent use of earlier ruach traditions that have been adapted by the biblical writers in the Second Temple period to emphasize the continued presence of God’s Spirit with his covenant people. Second, it considers more ambiguous allusions to the Holy Spirit, including the involvement of the divine ruach in the creation and re-creation of the temple and orchestrating human events to accomplish God’s purposes. This study demonstrates that the retrieval of previous ruach traditions were not just adopted but adapted by the biblical writers in this new postexilic context.

Christian Animism, Green Spirit Theology, and the Global Crisis Today

2012 ◽  
Vol 6 (3) ◽  
pp. 216-233 ◽  
Author(s):  
Mark I. Wallace
Keyword(s):  
Holy Spirit ◽  
Human Beings ◽  
Divine Presence ◽  
Global Crisis ◽  
The Earth ◽  
The Holy Spirit ◽  
The Church

Abstract This essay analyses the biblical promise and ethic of Christian animism: because everything God made is a bearer of the Holy Spirit human beings are obligated to care for creation. Three points are made. a) A retrieval of the Spirit’s disclosure of herself in the biblical literatures as one with the four cardinal elements —Earth, air, water, and fire. b) An analysis of how the Spirit is the “soul” of the Earth—the breath of creation—and the Earth is the “flesh” of the Spirit—the living landscapes of divine presence. c) A study of the significance of the church surviving in a period when the message of the Gospel is fundamentally threatened; this is the alarming status confessionis of our time. The hope of Christian animism—the vision of a shared and verdant Earth saturated with divine presence—is the ground for religiously charged transformative responses to the crisis of unsustainable living today.

scholarly journals «Starting the Temple of this life...». Spiritual aspects of cooperation between N.K. Roerich and M.K. Tenisheva

2016 ◽  
Author(s):  
Н.В. Тютюгина
Keyword(s):  
Holy Spirit ◽  
Deep Understanding ◽  
The World ◽  
Artistic Life ◽  
The Holy Spirit ◽  
Creative Art ◽  
The Temple ◽  
The Church ◽  
The Invisible

Исследование посвящено сотрудничеству всемирно известного художника Н.К. Рериха с меценатом и художником-эмальером княгиней М.К. Тенишевой: их связывала искренняя дружба и творчество в период с 1903 по 1928 год. В архивах России сохранилась переписка М.К. Тенишевой и Н.К. Рериха. Творчество М.К. Тенишевой было близко художнику Н.К. Рериху глубоким пониманием синтеза искусств. М.К. Тенишева в своих эмалях передавала связь православного искусства с традициями Востока и славянским язычеством. С 1908 по 1914 год Н.К. Рерих работал над росписями храма Святого Духа в имении М.К. Тенишевой Талашкино под Смоленском, представлявшем собой центр российской художественной жизни. В алтаре храма Н.К. Рерих создал образ Царицы Небесной – Матери Мира, также храм был украшен мозаикой «Спас Нерукотворный», фресками «Трон невидимого Бога», «Святой Никола Можайский».  До наших дней сохранились мозаика над входом, фотографии и эскизы внутренних росписей храма. Автор предлагает провести научную реконструкцию росписи храма Святого Духа в Талашкине по эскизам Н.К. Рериха. The study focuses on cooperation between the world famous painter Nicholas K. Roerich and Duchess M.K. Tenisheva – philanthropist and the artist-enameller. From 1903 till 1928 they were connected by sincere friendship and creativity. Russian archives preserved correspondence between M.K. Tenisheva and Nicholas K. Roerich. Tenisheva’s creative art was close to Roerich by its deep understanding of arts synthesis. Through her enamel works Tenisheva conveyed the bond between an orthodox art, traditions of East and Slavonic paganism. From 1908 till 1914 Nicholas Roerich worked on the murals of the Church of the Holy Spirit at Tenisheva’s estate Talashkino near Smolensk that in those times represented the centre of Russian artistic life. In the altar of the church N. Roerich created the image of the Queen of Heaven – Mother of the World. The church was also decorated with mosaics «Vernicle», frescos «The throne of the invisible God» and «Saint Nicholas of Mozhaisk». Mosaic above the church entrance, photographs and interior painting sketches were preserved till present days. The author suggests conducting scientific reconstruction of the murals at the Church of the Holy Spirit at Talashkino according to sketches of Nicholas K. Roerich.

Introduction

2014 ◽  
Author(s):  
John L. Allen
Keyword(s):  
Jesus Christ ◽  
Holy Spirit ◽  
Catholic Church ◽  
Son Of God ◽  
The Holy Spirit ◽  
The Temple ◽  
The Church ◽  
The Catholic Church

The Catholic Church makes some pretty exalted claims for itself. Over the centuries, the Church has described itself variously as the “Mystical Body” of Jesus Christ, the “Spotless Bride” of the Son of God, and the “Temple of the Holy Spirit,” the only path to...

Allegory and the Body as Icon: Evelyn Underhill and Barbara Brown Taylor

2021 ◽  
pp. 096673502110554
Author(s):  
Maxine Walker
Keyword(s):  
Holy Spirit ◽  
Sacred Space ◽  
The Body ◽  
The Self ◽  
Divine Presence ◽  
Cultural Ideologies ◽  
Faith Traditions ◽  
The Holy Spirit ◽  
Truth Claims

When faith traditions confront postmodern uncertainties regarding historical liturgical practices, political and cultural ideologies, the self and sacred space, the assurance of truth claims, allegorical readings and interpretations of sites where divine presence is found are equally questioned. Can allegorical interpretations offer a valuable strategy in postmodern understandings for identifying how Divine presence is embodied? One possibility is to discover how two Anglican women embody their faith community’s via media and in turn these women may be read as an “open icon.” To provide contrasting views, Orthodox Icons are particularly noted for their allegorical certainties that identify and point with sharp clarification to Tradition and the Church’s sacramental understandings. An allegorical frame “closes” the Orthodox icon. In a postmodern view, allegory “opens” said frame to a vast horizontal landscape that discovers spaces, places, and persons in which the Holy Spirit works mysteriously and unexpectedly. Both Evelyn Underhill and Barbara Brown Taylor writing almost a century apart and each encountering their respective historical reactions to “modernism,” trace the margins of their faith along the Anglican understanding of the via media. In doing so, both suggest the notion of “open” icon—the body itself.

The Meaning of «Ointment upon the Head, that Ran Down upon the Beard, even Aaron’s Beard» (Psalms 132-133) in Traditional Jewish and Christian Exegesis. Part I

2020 ◽  
pp. 17-40
Author(s):  
Ириней Пиковский
Keyword(s):  
Holy Spirit ◽  
Jerusalem Temple ◽  
Masoretic Text ◽  
Clement Of Alexandria ◽  
Starting Point ◽  
John Chrysostom ◽  
The Holy Spirit ◽  
Songs Of Ascents ◽  
The Temple

Псалом 132 по Синодальному тексту (133 - по нумерации масоретского текста), является одной из пятнадцати «песней восхождения», входящих в состав Псалтири (Пс. 119- 133). Данный псалом интересен литургической привязкой к ритуалу Иерусалимского храма, с которым его связывает упоминание о елее, сходящем на бороду Аарона (Пс. 132, 2). Автор использует метафору елея для усиления оттенка радости собратьев по вере, собравшихся в храм для совместной молитвы (ст. 1). Целью настоящего исследования является обзор методов интерпретации образа елея, сходящего на бороду Аарона в ранней еврейской и греческой языковых традициях толкования Св. Писания. Для этих целей в первой части статьи проводится анализ метафоры елея в источниках иудейской экзегезы (Сифрей Бамидбар, Сифра, Талмуд, Мидраш Танхума) и христианской экзегезы (Климент Александрийский, Ориген, Афанасий Александрийский, Василий Кесарийский, Иоанн Златоуст, Феодорит Кирский). Далее, во второй части статьи, на основе историко-филологического метода определяется место «елея» в содержании псалма по современным экзегетическим исследованиям. В результате было выявлено, что в источниках иудейской экзегезы значительное внимание уделяется поиску исторической основы помазания священства благовонным елеем в контексте обрядов Иерусалимского храма. Источники христианской экзегезы тяготеют к мессианской интерпретации гимна, в которой помазание Аарона миром толкуется как прообраз помазания Христа и верующих в Него Святым Духом. Итак, образ елея мог рассматриваться в древних религиозных традициях как отправная точка для актуальных на то время рассуждений о роли Аарона или Христа, а также об этических требованиях к кандидатам на помазание. Psalm 133 according the numeration of the Masoretic text, or 132 according the numeration of the Septuagint, is one of the fifteen «songs of ascents» (Psalms 119-133 - hereinafter numbering according to the Synodal text) that are part of the Book of Psalms. Рsalm 132 is interesting for its liturgical attachment to the ritual of the Jerusalem Temple, with which it is associated with the mention of «precious oil on the head, running down on the beard, on the beard of Aaron» (Ps. 132, 2 ESV). The author uses the «oil» metaphor to enhance the shade of joy of fellow believers gathered in the temple for prayer (v. 1). The purpose of this study is to review methods for interpreting the image of «oil falling on Aaron’s beard» in the early Jewish and Greek exegetical traditions. For these purposes, an analysis of the «oil» metaphor is carried out in the sources of the Jewish exegesis (Sifra Bamidbar, Talmud, Midrash Tanhuma) and the Christian exegesis (Clement of Alexandria, Origen, Athanasius of Alexandria, Basil of Caesarea, John Chrysostom, Theodore of Cyrus). Further, on the basis of the historical-philological method, the place of «oil» in the content of the psalm according to modern exegetical studies is determined. As a result, it was revealed that in the sources of Jewish exegesis was considerable attention to the search for the historical basis of the anointing of the priesthood with «incense oil» in the context of the rites of the Jerusalem temple. Sources of Christian exegesis lean toward a messianic interpretation of the hymn, in which the anointing of Aaron was interpreted as a prototype of the anointing of Christ and those who believe in Him with the Holy Spirit. Thus, the image of the «oil» could be considered as a starting point for discussions about the role of Aaron or Christ, as well as the ethical requirements for anointing candidates.

Pentecostal Ecclesiologies

2018 ◽  
pp. 334-358
Author(s):  
Amos Yong
Keyword(s):  
Holy Spirit ◽  
The Body ◽  
Body Of Christ ◽  
People Of God ◽  
Pentecostal Movement ◽  
The People ◽  
The Holy Spirit ◽  
The Temple ◽  
Charismatic Christianity ◽  
The Church

What can be said about ‘pentecostal ecclesiology’ when there are arguably many ‘pentecostalisms’ and just as many ecclesial forms across the world of pentecostal-charismatic Christianity? This chapter provides a basic sketch of such phenomenological diversity and then moves to present as a viable candidate for pentecostal ecclesiological reflection a pneumatological framework of the church as renewed by the Spirit and always renewing. The first section provides some historical perspective on the classical pentecostal movement The second and third sections argue that pentecostal ecclesiological dynamism is inspired largely by its pneumatic spirituality; they map emerging ecclesiological tendencies under the rubrics ‘the church as the charismatic fellowship of the Spirit’ and ‘the church as the people of God, the body of Christ, and the temple of the Holy Spirit’. While the former reflects some of the renewal distinctives about pentecostal ecclesiological self-understanding, the latter situates the pentecostal understanding of the church within the mainstream of ecclesiological developments.

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