scholarly journals Religiøs ikonografi og politisk agitation

1986 ◽  
Author(s):  
Carsten Riis
Keyword(s):  
Virgin Mary ◽  
Historical Background ◽  
Considerable Degree ◽  
16Th Century ◽  
Orthodox Church ◽  
Historical Aspect ◽  
Explanatory Text ◽  
The City ◽  
The Church ◽  
Religious Aspect

About the painting “The Siege of Constantinople” as found on six churches from the 16th century in Moldavia. In the first decades of the 16th century the late Byzantine iconography flourished in Moldavia on church exteriors. On six churches within a radius of 30 kilometres are found a siege scene, “The Siege of Constantinople”, in connection with a painting of the Akathist Hymn. The article seeks the historical background of the painting in the siege of Constantinople by the Turkish army in 1453. In uncovers, through an interpretation of the painting from the Moldovita Monastery, the Moldavian painters’ knowledge of the fall of Constantinople. At the same time, this was the defeat of the centre of the Orthodox Church to which Moldavia belonged. From the connection with the Akathist Hymn and the explanatory text which follows the painting on the church in Arbore, the religious aspect of the paintings is connected to the Persian siege of Constantinople in 626, where an intervention by Virgin Mary was believed to have saved the city. During the Turkish pressure in the 1530’s, this tradition is moulded into an anti-Turkish ideological manifest in Moldavia. This takes place by altering the historical scene for the events in 626, and in this manner the situation of Moldovia is incorporated into the paintings. The church of Arbore has been painted as the last one and has an account which varies in considerable degree from the five others regarding the historical aspect, because at that time Turkish control of the area increased. However, its religious aspect is still Christian and anti-Turkish. After 1541 the picture is no longer painted, probably because of even stronger Turkish control.

scholarly journals Mission and Limitations. Back to the Origins of Lutheran-Orthodox Contacts in the 16th Century

2018 ◽  
Vol 10 (1) ◽  
pp. 90-103
Author(s):  
Dietmar Plajer
Keyword(s):  
Direct Contact ◽  
City Council ◽  
16Th Century ◽  
Orthodox Church ◽  
The Reformation ◽  
The City ◽  
The Church ◽  
Printing House

Abstract The Reformation in Transylvania, Lutheran in structure, has been from its very beginning in direct contact with representatives of the Orthodox Church. An Orthodox clergyman, Philippus Pictor (Filip Moldoveanul), had worked for decades in Hermannstadt in the service of the magistrate, with tasks – among other responsibilities – in the printing house; it was probably during his activity in office that the (now lost) Romanian catechism of 1544, the church-slavonic and the bilingual (Slavonic-Romanian) gospels were printed. There are good reasons to assume that these prints were made directly by the initiative of the city council; but this was not an attempt at the conversion of Romanians to the Evangelical faith, but rather an exercise of the duty – emerging from Luther’s theology – to make possible for all people the access to Scripture.

scholarly journals Najstarsze dzieje parafii mielnickich

2021 ◽  
Vol 23 ◽  
pp. 147-153
Author(s):  
Antoni Mironowicz ◽  
Keyword(s):  
Thirteenth Century ◽  
Virgin Mary ◽  
16Th Century ◽  
Orthodox Church ◽  
13Th Century ◽  
Blessed Virgin Mary ◽  
History Of ◽  
The City

The oldest history of the Orthodox parishes in Mielnik shows that they were closely related to the history of the city. The first brick temple was built in the Ruthenian stronghold in the 13th century. The tradition of the thirteenth-century temple was related to the wooden church of the Nativity of the Blessed Virgin Mary built in 1431 at Drohicka Street, and then another one erected on the Ruthenian hill in 1614 and the present one built in the years 1821-1823. The Orthodox Church of the Resurrection of Christ situated on Brzeska Street at the beginning of the 16th century was of great importance to the inhabitants of the city. Rebuilt after a fire in 1648, it survived until 1878. In 1777, in the parish of the Nativity of the Blessed Virgin Mary, a cemetery chapel of the Protection of the Mother of God was built, which housed the revered icon of the Mother of God of the Protection.

Study of Painting Materials and Techniques in the 18th Century St.Athanasius Church in Moschopolis, Albania

2007 ◽  
Vol 1047 ◽  
Author(s):  
Eleni Pavlidou ◽  
N. Civici ◽  
E. Caushi ◽  
L. Anastasiou ◽  
T. Zorba ◽  
...  
Keyword(s):  
18Th Century ◽  
Orthodox Church ◽  
Wall Paintings ◽  
Cultural Center ◽  
Green Earth ◽  
Almost All ◽  
The City ◽  
The Church ◽  
Compositional Characterization

AbstractIn this paper are presented the studies of the paint materials and the technique used in 18th century wall paintings, originated from the orthodox church of St Athanasius, in the city of Maschopolis, a flourishing economical and cultural center, in Albania. The church was painted in 1745 by Konstantinos and Athanasios Zografi, and during the last years, restoration activities are being performed at the church. Samples that included plasters and pigments of different colors were collected from important points of the wall paintings. Additionally, as some parts of the wall-paintings were over-painted, the analysis was extended to the compositional characterization of these areas. The identification of the used materials was done by using complementary analytical methods such as Optical Microscopy, Fourier Transform Infrared spectroscopy (FTIR), Scanning Electron Microscopy (SEM-EDS) and X-ray fluorescence (TXRF).The presence of calcite in almost all the pigments is indicative for the use of the fresco technique at the studied areas, while the detection of gypsum and calcium oxalate, indicates an environmental degradation along with a biodegradation. Common pigments used in this area at 15-16th centuries, such as cinnabar, green earth, manganese oxide, carbon black and calcite were identified.

7. Modern Mary—Reformation to the present

2021 ◽  
pp. 123-146
Author(s):  
Mary Joan Winn Leith
Keyword(s):  
21St Century ◽  
Vatican Ii ◽  
Virgin Mary ◽  
16Th Century ◽  
Protestant Reformation ◽  
Council Of Trent ◽  
The Enlightenment ◽  
Immaculate Conception ◽  
Religious Ideals ◽  
The Church

‘Modern Mary—Reformation to the present’ looks at the Virgin Mary from the Protestant Reformation of the 16th century to the present. During this period Mary was often at the centre of conflicts over religious ideals that contributed to the Enlightenment. The Catholic Council of Trent reaffirmed Mary’s perpetual virginity, intercession, pilgrimage, and relics. Catholic Marian beliefs were shaped by some of the misgivings that Protestants had voiced about Catholic views of Mary. The rosary and apparitions of Mary illustrate Catholic views of Mary after the Council of Trent. The so-called ‘Marian Century’ began in 1854 with Pope Pius IX’s declaration of Mary’s Immaculate Conception effectively ended in 1965 with the church reforms of Vatican II. Marian spirituality in the 21st century have taken often surprising directions.

Art in Renaissance Florence

2013 ◽  
Author(s):  
Sarah Blake McHam ◽  
Stephen Mack
Keyword(s):  
20Th Century ◽  
Considerable Degree ◽  
16Th Century ◽  
14Th Century ◽  
Works Of Art ◽  
The Family ◽  
Renaissance Florence ◽  
Art And Architecture ◽  
The City ◽  
Lives Of The Artists

Florence was a crucial locus for developments in Italian art throughout the peninsula in the period between 1300 and 1600, and so this article will concern itself with art created in the city rather than by Florentine artists working outside of Florence. To a considerable degree, the pervasive influence of Giorgio Vasari’s Lives of the Artists (1550, 1568) affected all later historiography, which followed the patriotic Florentine in his claims that everything of importance throughout the Renaissance originated in the city and spread from there elsewhere. That myth was challenged only in the latter part of the 20th century. Nevertheless, no matter how Vasari exaggerated Florence’s importance, the city was a major center. It was wealthy particularly from the wool trade and through dominance in banking throughout Europe, and the city’s humanists early advised private and corporate patrons about the advantages to their reputations and to that of the city of commissioning art and architecture. Although in the 14th century, Florence was governed as a guild republic, and the major guilds commissioned most of the major works of art, by 1434, Cosimo de’ Medici rose to power, and thereafter except for brief intervals (1494–1512; 1527–1530), the Medici family controlled the city. In the mid-16th century, the family consolidated its power and ruled over all of Tuscany as grand dukes, and changed the nature of commissions to those flattering its rule.

The Virgin Mary and the People of Liguria: Image and Cult

2004 ◽  
Vol 39 ◽  
pp. 280-297
Author(s):  
Jane Garnett ◽  
Gervase Rosser
Keyword(s):  
Twentieth Century ◽  
Local Church ◽  
Large Scale ◽  
Church Leaders ◽  
Virgin Mary ◽  
Corpus Christi ◽  
The People ◽  
The Face ◽  
The City ◽  
The Church

We begin with an image, and a story. Explanation will emerge from what follows. Figure 1 depicts a huge wooden statue of the Virgin Mary, once the figurehead on the prow of a ship, but now on the high altar of the church of Saints Vittore and Carlo in Genoa, and venerated as Nostra Signora della Fortuna. On the night of 16-17 January 1636 a violent storm struck the port of Genoa. Many ships were wrecked. Among them was one called the Madonna della Pieta, which had the Virgin as its figurehead. A group of Genoese sailors bought this image as part of the salvage washed up from the sea. First setting it up under a votive painting of the Virgin in the harbour, they repaired it, had it repainted, and on the eve of Corpus Christi brought it to the church of San Vittore, close by the port. A famous blind song-writer was commissioned to write a song in honour of the image. Sailors and groups of young girls went through the streets of the city singing and collecting gifts. The statue became at once the focus of an extraordinary popular cult, thousands of people arriving day and night with candles, silver crowns, necklaces, and crosses in gratitude for the graces which had immediately begun to be granted. Volleys of mortars were let off in celebration. The affair was managed by the sailors who, in the face of mounting criticism and anxiety from local church leaders, directed devotions and even conducted exorcisms before the image. To stem the gathering tide of visitors and claims of miracles, and to try to establish control, the higher clergy first questioned the identity of the statue (some held it to represent, not the Virgin, but the Queen of England); then the statue was walled up; finally the church was closed altogether. Still, devotees climbed into the church, and large-scale demonstrations of protest were held. The archbishop instituted a process of investigation, in the course of which many eye-witnesses and people who claimed to have experienced miracles were interviewed (giving, in the surviving manuscript, rich detail of their responses to the image). Eventually the prohibition was lifted, and from 1637 until well into the twentieth century devotion to Nostra Signora della Fortuna remained strong, with frequent miracles or graces being recorded. So here we have a cult focused on an image of secular origin, transformed by the promotion of the sailors into a devotional object which roused the enthusiasm of thousands of lay people. It was a cult which, significantly, sprang up at a time of unrest in the city of Genoa, and which thus focused pressing issues of authority. The late 163os witnessed growing tension between factions of ‘old’ and ‘new’ nobility, the latter being marked by their hostility to the traditional Genoese Spanish alliance. Hostilities were played out both within the Senate and in clashes in the streets of the city. The cult of Nostra Signora della Fortuna grew up in this context, but survived and developed in subsequent centuries, attracting devotion from all over Italy.

Mary in the Hymnody of the East

2019 ◽  
pp. 105-121
Author(s):  
John Anthony McGuckin
Keyword(s):  
Literary Tradition ◽  
Virgin Mary ◽  
Eastern Orthodox ◽  
Christian Tradition ◽  
Orthodox Church ◽  
The World ◽  
The New Testament ◽  
Unbroken Line ◽  
The Church

Beginning with a notice of the major Marian hymnal elements in the New Testament text, this study goes on to consider how the most ancient Christian tradition of celebrating the role of the Virgin Mary in the salvific events the Church commemorates at prayer runs on in an unbroken line into the earliest liturgical examples from the Byzantine Greek liturgy. The study exegetes some of the chief liturgical troparia addressed to the Theotokos in the Eastern Orthodox Church ritual books. It analyses some of the more famous and renowned poetic acclamations of the Virgin in Byzantine literary tradition, such as the Sub Tuum Praesidium, the Akathist, and the Nativity Kontakion of Romanos the Melodist, but also goes on to show how the minor Theotokia (or ritual verses in honour of the Virgin), taken from the Divine Liturgy and from the Eastern Church’s Hours of Prayer, all consistently celebrate the Mother of God’s role in the salvific work of Christ in the world.

scholarly journals Antoni Messing- co-creator of the Blessed Virgin Mary's statue located in front of the Reformed Church and co-author of series of tombstones patterned after it and raised at the cemeteries of Warsaw

1970 ◽  
Vol 23 ◽  
pp. 214-227
Author(s):  
Marta Wiraszka
Keyword(s):  
Virgin Mary ◽  
The Other ◽  
Formal Concept ◽  
Reformed Church ◽  
Immaculate Conception ◽  
Innovative Idea ◽  
The Creation ◽  
The City ◽  
The Church ◽  
The Way

Antoni Messing (ca. 1821-1867) the owner of the stone workshop located in Warsaw on 6 Powązkowska Street (mtge. 27C) is currently most famous for one monument- the Statue of the Virgin Mary of Immaculate Conception which was placed in front of the Church of St Antony of Padua on Senatorska Street (1851). What made this monument different from other independently standing monuments was the use of lanterns which at evening time illuminated the statue of the Virgin (1853). The innovative idea spread not only around Warsaw, but also outside the city boundaries.             References to the monument elevated by Messing were not limited to the way and form of illuminating the statue. The inventory research conducted on Warsaw cemeteries enable the extraction of a group of tombstones imitating the shape and the decor of the plinth of the statue of the Virgin. The number of examples of this collection of tombstones numbers 19. Their execution dates back to the period 1853-1874 - with one exception only, all of them were elevated during the period of Antoni Messing’s ownership of the stone workshop. All of them represent the same commemoration in the form of a crucifix located on a plinth. Examples can be separated into two groups. One, comprising 8 tombstones, the closest to the original, the other, comprising 11 examples preserves the architectural structure without the sculptural decor. The origin of the formal concept is to be traced in the project of Henryk Marconi’s garden vase designed for Wilanowski Park (ca. 1845-1851) as well as the finishing elements of the Stanisław and Antoni Potocki’s tombstones. Consequently, the contribution of Messing consists in the creation of the series of tombstones modelled on the statue of the Virgin Mary rather than the originality of the project.  

Our Lady of Zeitoun (1968–1971)

2017 ◽  
Vol 21 (2) ◽  
pp. 85-99
Author(s):  
Donald A. Westbrook
Keyword(s):  
Public Transit ◽  
Middle Eastern ◽  
Bright Light ◽  
Virgin Mary ◽  
Orthodox Church ◽  
Secondary Literature ◽  
Coptic Orthodox ◽  
Muslim Majority ◽  
Marian Apparitions ◽  
The Church

This article situates the mass mariophanies reported at Zeitoun (Cairo), Egypt, from 1968 to 1971 in their historical, political, interfaith, and ecumenical contexts. The series of luminous apparitions above St. Mary’s Coptic Orthodox Church were first observed by nearby Muslim public transit workers. Soon after, the site attracted tens of thousands of Christian and Muslim pilgrims, many of whom observed bright light in the form of the Virgin Mary in addition to other manifestations, such as dove-shaped lights hovering above or near the church. Miraculous healings were also reported. The Zeitoun apparitions serve as a unique instance within the broader study of Marian apparitions by providing a non-Catholic example that took place within a Muslim-majority nation over a span of nearly three years. Moreover, full contextualization of the events in Zeitoun requires interdisciplinary attention spanning Middle Eastern, Islamic, and ecumenical studies; as such, the apparitions invite further and fuller examination in the secondary literature.

scholarly journals Studnia przydrożna z XVI-XVII wieku na Ostrowie Tumskim w Poznaniu

2018 ◽  
pp. 67-80
Author(s):  
Olga Antowska-Gorączniak ◽  
Paweł Lech ◽  
Andrzej Sikorski
Keyword(s):  
Sea Level ◽  
Middle Ages ◽  
Virgin Mary ◽  
16Th Century ◽  
Modern Times ◽  
The Road ◽  
Late Middle Ages ◽  
The Rose ◽  
The Church ◽  
Beam Technique

In July 2008 a roadside well was discovered on the cathedral island in Poznań (to date at least five drawing wells from the late Middle Ages and modern times have been registered).  The well was unearthed at the rose square (excavation pit 51/2008) about 18 m from the facade of the church of the Blessed Virgin Mary (and the now nonexistent churchyard) at the level of  56.09 meters above sea level (rubble fill-in) – 50.61 meters above sea level (end of exploration) – Fig. 1.  The object was situated directly next to the road, in a large oval or quadrilateral pit (with rounded corners) ca 3.6 m in diameter, and was ca 5.5 m deep. The wooden construction which protected the walls of the object was done in the post and beam technique – Fig. 2. Many different objects fell (were thrown) into the well while water was being drawn from it, perhaps some of them were redeemed while other remained at the bottom. However, most of the “sunk” relics got into the well while it was being dug or repaired, but especially when it was filled in, i.e. when water was no longer drawn from it (Figs. 4 and 5).The well, which was sunk during the rule of Bishop Jan Lubrański (1499-1520), i.e. at a time of prosperity of Ostrów Tumski in the 16th century, was in use and water was drawn from it in the 15/16-17th centuries. It is difficult to assert what reasons decided about its being

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