Sacred Connection of Ornamental Flowers with Religious Symbols
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Religious Symbolism and Floral Motifs During the Time of the Knights of Malta: the Vestments of the Cotoner Grand Masters
Religious Symbolism and Floral Motifs during the time of the Knights of Malta: The Vestments of the Cotoner Grand Masters Cynthia de Giorgio uring their 268-year sojourn in Malta, the various Grand Masters of the Order of St John donated a wealth of sacred vestments to St John’s, their Conventual DChurch. Two of the more spectacular sets of vestments are those donated by the Cotoner Grand Masters in the 1660s. They are particularly striking due to their extensive use of symbolism, an important artistic tool used during the Baroque period to educate, elevate and enthral. During the reign of Grand Master La Cassiere (1572-1582) the General Chapter of the Order established that each Grand Master had to donate from his personal wealth a gioia to the newly consecrated church of St John within five years of his election.1 As a result, the church of St John holds a precious and unique collection of works of art including sacred vestments most of which were gifts from the various Grand Masters. The inventories of the Order record thirteen gifts of sacred vestments to the Conventual Church, twelve by the various Grand Masters and one by Pope Alexander VII, Fabio Chigi, who was formerly Inquisitor of Malta between 1634 and 1639. Grand Master Nicolas Cotoner, who reigned from 1663 to 1680, donated two Fig. 1 Chasuble and tunicle, from the collection of vestments, a gift of Grand Master Nicolas Cotoner. 255 sets of liturgical vestments.2 One set was in memory of his brother Rafael, who had preceded him as Grand Master, and who had reigned for only three years, dying before he had the chance to donate his gift, and another set which was his personal gift to the church. -
The 'Language of Flowers' As Subtext: Conflicted Messages of Domesticity
Working Papers on Design © University of Hertfordshire. To cite this journal article: Sheley, Nancy Strow (2007) ‘The “Language of Flowers” as Coded Subtext: Conflicted Messages of Domesticity in Mary Wilkins Freeman’s Short Fiction’, Working Papers on Design 2 Retrieved <date> from <http://www.herts.ac.uk/artdes1/research/papers/ wpdesign/wpdvol2/vol2.html> ISSN 1470-5516 The ‘Language of Flowers’ as Coded Subtext: Conflicted Messages of Domesticity in Mary Wilkins Freeman’s Short Fiction Nancy Strow Sheley, Ph.D. California State University, Long Beach Abstract This paper presents a unique, literary model for illustrating the symbiotic relationship of text, narrative and image. The examples in this paper are primarily drawn from a selection of popular short fiction by Mary Wilkins Freeman (1852-1930) to suggest that contemporary readers often overlook the nineteenth-century cultural phenomenon, the Language of Flowers. Further, this paper argues that knowledge of this socially constructed vocabulary, extensively detailed in floral dictionaries and other material culture in the nineteenth century, is necessary for fully enhanced readings of texts written by Freeman and other American writers of that time. In the latter half of the 1800s, the mere allusion to a blossom or plant in text could trigger a mental processing of flower to image to definition. Today, those readers who acknowledge the Language of Flowers and understand its use as a subtext can explore how botanical references, even in fiction, often support multiple interpretations of character, setting, plot, and theme. Those who do not understand the coded subtext of the Language of Flowers fail to analyze the literature to its fullest. -
Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl Boise State University
Boise State University ScholarWorks History Faculty Publications and Presentations Department of History 1-1-2007 Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl Boise State University Publication Information Odahl, Charles Matson. (2007). "Constantine the Great and Christian Imperial Theocracy". Connections: European Studies Annual Review, 3, 89-113. This document was originally published in Connections: European Studies Annual Review by Rocky Mountain European Scholars Consortium. Copyright restrictions may apply. Coda: Recovering Constantine's European Legacy 111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111 Constantine the Great and Christian Imperial Theocracy Charles Matson Odahl, Boise State University1 rom his Christian conversion under the influence of cept of imperial theocracy was conveyed in contemporary art Frevelatory experiences outside Rome in A.D. 312 until (Illustration I). his burial as the thirteenth Apostle at Constantinople in Although Constantine had been raised as a tolerant 337, Constantine the Great, pagan polytheist and had the first Christian emperor propagated several Olympian of the Roman world, initiated divinities, particularly Jupiter, the role of and set the model Hercules, Mars, and Sol, as for Christian imperial theoc di vine patrons during the early racy. Through his relationship years of his reign as emperor -
The Language of Flowers Is Almost As Ancient and Universal a One As That of Speech
T H E LANGUAGE OF FLOWERS; OR, FLORA SYMBOLIC A. INCLUDING FLORAL POETRY, ORIGINAL AND SELECTED. BY JOHN INGRAM. “ Then took he up his garland, And did shew what every flower did signify.” Philaster. Beaumont and Fletcher. WITH ORIGINAL ILLUSTRATIONS, PRINTED IN COLOURS BY TERRY. LONDON AND NEW YORK: FREDERICK WARNE AND CO. 1887. vA^tT Q-R 7 SO XSH mi TO Eliza Coo k THIS VOLUME IS AFFECTIONATELY INSCRIBED BY HER FRIEND THE AUTHOR. o Preface. j^IIE LANGUAGE OF FLOWERS has probably called forth as many treatises in explanation of its few and simple rules as has any other mode of communicating ideas; but I flatter myself that this book will be found to be the most complete work on the subject ever published—at least, in this country. I have thoroughly sifted, condensed, and augmented the productions of my many predecessors, and have endeavoured to render the present volume in every re¬ spect worthy the attention of the countless votaries which this “ science of sweet things ” attracts ; and, although I dare not boast that I have exhausted the subject, I may certainly affirm that followers will find little left to glean in the paths that I have traversed. As I have made use of the numerous anecdotes, legends, and poetical allusions herein contained, so Preface. VI have I acknowledged the sources whence they came. It there¬ fore only remains for me to take leave of my readers, with the hope that they will pardon my having detained them so long over a work of this description , but “Unheeded flew the hours, For softly falls the foot of Time That only treads on flowers.” J. -
Show Me, Help Me, Tell Me, Sell Me: Leading Christian Renewalist
Renewalist Ministries’ Use of the Web 1 Show Me, Help Me, Tell Me, Sell Me: Leading Christian Renewalist Ministries’ Use of the World Wide Web for Evangelizing, Fundraising, and Merchandising Douglas J. Swanson, Ed.D APR Associate Professor of Journalism California Polytechnic State University Paper presented to the Western Social Sciences Association National Conference Denver, Colorado Spring, 2008 Renewalist Ministries’ Use of the Web 2 Abstract This research is an analysis of visual, operational, informational, fundraising, and merchandising content of World Wide Web sites of 13 leading renewalist Christian ministries. Renewalist Christians espouse a “Health and Wealth” theology that is embraced by increasing numbers of believers worldwide. A content analysis, coupled with the application of media framing and constant comparative analysis allowed for quantitative and qualitative findings. Visual and operational content was found to be oriented mostly toward communication, while informational content was oriented mostly toward evangelization. Most renewalist sites eschewed traditional Christian symbolism and emphasized positive themes and “can do” encouragement. Fundraising and product sales were key components of online efforts to solidify relationships with followers. It remains to be seen whether the methods used by renewalist ministries will transfer to mainline denominations. Key words: Religion, Christianity, evangelism, ministry, renewalism, megachurch, World Wide Web, Web sites, fundraising, merchandising Renewalist Ministries’ Use of the Web 3 Introduction In recent years, there has been a dramatic increase in popularity of Protestant Christian religious organizations that embrace a “Health and Wealth” theology. Known as renewalist ministries (Spirit and power. ., 2006), these groups believe God grants health and prosperity to the faithful in accordance with the promises of Jesus Christ (Olsen, 2006). -
Some of the Most Important Symbols for Orthodox
Walking in Light with Christ - Faith, Computing, Diary Articles & tips and tricks on GNU/Linux, FreeBSD, Windows, mobile phone articles, religious related texts http://www.pc-freak.net/blog Some of the most important Symbols for Orthodox Christians in The Eastern Orthodox Church - Symbols in the Eastern Orthodox Christian Faith (Eastern Orthodox Symbolism) and Christian Symbolism in the Roman Catholic Church (Symbolism in Western Catholicism) Author : admin Yesterday, while browsing randomly I came across an interesting Roman Catholic webpage. The website is created by Catholics with the idea to better explain the Catholic religion and Symbolism. Though as an Orthodox Christian, my interest towards Roman Catholicism is only scientific, it's really interesting to see the common symbolism surrounding Roman Catholicism and compare with the Orthodox Christian symbolism. Many of the Roman Catholic Symbols are equal symbol with the one we nowadays used in the orthodox church. I presume this common symbolism between Orthodox and Roman Catholic church,has stayed the same from the time before Roman Catholics split from the Only Holy Apostolic Church to become the Church of the West Roman Empire, that's how the naming Roman Catholic came forward. To find out more about Roman Catholic symbolism please see the following links I've mirrored the information from Fisheater's website which is btw is a great website targeting Roman Catholic layman. Everything on the website is explained in a simple everyday language without too much terminology which makes it a great resource for Roman Catholic Christians and people like me who who like to take a look in Roman Catholicism. -
TEACHING IMAGE PATTERNS in HAMLET HILARY SEMPLE, Former Lecturer at the University of the Witwatersrand
TEACHING IMAGE PATTERNS IN HAMLET HILARY SEMPLE, former lecturer at the University of the Witwatersrand (originally published in CRUX, May 1993) In her fascinating study of Shakespeare’s imagery Caroline Spurgeon writes: The greater and richer the work the more valuable and suggestive become the images, so that in the case of Shakespeare I believe one can scarcely overrate the possibilities of what may be discovered through a systematic examination of them.' A systematic examination involving complete coverage is not possible in class or tutorial room, but many of the difficulties experienced by pupils or students in the study of Hamlet may be resolved by an analysis of some or the main image patterns in the play. First, the question, ‘what is an image?’ needs to be addressed, and the answer need not be one of great sophistication or subtlety. Many literary glossaries give the teacher a variety of definitions with which to work. The students need to grasp the fundamental idea that the dramatist creates many ‘mental pictures’ 2 in order to present ideas and concepts descriptively"3. After the group has agreed on a few working definitions of the image, pupils or students should be invited to create their own mental picture — to visualize a train travelling rapidly, kept on track, and given direction by its rails. This is to be kept in mind as a rough analogy for the movement of the play, which is kept ‘on track‘ and given direction by the image patterns created by the dramatist. In other words, the image patterns support and accompany the play’s action and plot like the rails do a train. -
Rick Warren, the Megachurch Movement, and Early Twenty-First Century American Evangelical Discourse
ABSTRACT A NEW PURPOSE: RICK WARREN, THE MEGACHURCH MOVEMENT, AND EARLY TWENTY-FIRST CENTURY AMERICAN EVANGELICAL DISCOURSE by Myev Alexandra Rees This thesis is a study of Rick Warren, celebrity pastor and bestselling author of The Purpose Driven Life, and his role in the late twentieth and early twenty-first century American evangelical discourse. This thesis provides a historical, cultural, and theological description of American evangelicalism and of the megachurch movement in order to facilitate an understanding of Warren’s influence on both categories. Finally, this thesis argues that Warren’s influence and leadership are causing a cultural and theological shift within American evangelicalism. A NEW PURPOSE: RICK WARREN, THE MEGACHURCH MOVEMENT, AND EARLY TWENTY-FIRST CENTURY AMERICAN EVANGELICAL DISCOURSE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts Department of Comparative Religion by Myev Alexandra Rees Miami University Oxford, Ohio 2009 Advisor ___________________________________ (Dr. Peter W. Williams) Reader ____________________________________ (Dr. James Constantine Hanges) Reader ____________________________________ (Dr. Mary Kupiec Cayton) Table of Contents Introduction......................................................................................................................................1 Chapter 1: The Early Twenty-First Century American Evangelical Discourse ..............................3 Chapter 2: The Megachurch Movement -
'De Rossi's School' and Early Christian Iconogra- Phy, Ca. 1852
‘De Rossi’s School’ and Early Christian iconogra- phy, ca. 1852–1894 Georgi R. Parpulov ‘Ma è poi vero tutto questo? Non è possibile qui nessuna illusione?’ (Pius IX, Pope of Rome, 11 May 1854)1 De Rossi has ‘the rare merit of stating his facts ex- actly and impartially, precisely as he finds them’ (Wharton Booth Marriott, schoolmaster, 1870)2 ‘Si en contemplant les phénomènes, nous ne les rattachions point immédiatement à quelques principes, non-seulement il nous serait impossible de combiner ces observations isolées, et par conséquent, d'en tirer aucun fruit, mais nous serions même entièrement incapables de les retenir ; et, le plus souvent, les faits resteraient inaperçus sous nos yeux.’ (Auguste Comte, philosopher, 1829)3 The fall of Rome Rome became the capital of reunified Italy on 20 September 1870. Piedmontese troops captured the city soon after Prussia’s victory over France toppled the Pope’s erstwhile protector Napoleon III. Pius IX spent the last eight years of his life in vol- untary captivity at the Vatican − deprived of secular power but proclaimed by con- I was encouraged to write this article by Jaś Elsner. Its topic was suggested to me by Maria Lidova. I thank Jean-Michel Spieser for his helpful comments on the text. 1 Paolo Maria Baumgarten, Giovanni Battista de Rossi, fondatore della scienza di archeologia sacra, Rome: Cuggiani, 1892, 44. ‘But can all this be true? Is no deception possible here?’ The pope spoke these words upon first visiting the Roman Catacomb of Callixtus excavated by de Rossi; cf. Massimilano Ghilardi, ‘Giovanni Battista de Rossi, Pio IX e le catacombe di San Callisto in un gesso dimenticato di Aniceto Marinas’, Studi romani, 40, 2012, 277–291, at 282– 3. -
THE SYMBOLISM of the STAINED GLASS WINDOWS the Lutheran Church of Our Savior, Rehoboth Beach, DE
THE SYMBOLISM OF THE STAINED GLASS WINDOWS The Lutheran Church of Our Savior, Rehoboth Beach, DE THE EIGHT ORIGINAL WINDOWS The eight windows in the corners of the front of the sanctuary were dedicated on July 10, 1988. They include the following: THE BAPTISMAL SHELL WINDOW The shell with the water flowing from it was originally a symbol of our Lord's Baptism by John. However, it also serves as a reminder of our own Baptism and the many spiritual benefits we receive at Baptism. THE PASCHAL LAMB WINDOW “Behold the Lamb of God that takes away the sins of the world" (John 1:29). The Lamb reminds us of the sacrifice which Christ made - His very life - for our salvation. The empty cross with the halo shows us that the Lamb was victorious over the cross, sin, death, and the devil. THE 'REJOICE AND BE GLAD’ WINDOW Traditionally viewed as a symbol of the second coming of our Lord, the trumpets in the background also remind us of a call to worship. The words "Rejoice and be glad," (from Psalm 118:24) remind us of the attitude which permeates the faithful Christian life, for "this is the day the Lord has made" (Psalm 118:24). THE SHIP WINDOW Protected by the mighty hand of God, the church sails through all storms unharmed. Jesus has promised that the church will stand and "the gates of Hell will not overcome it" (Matthew 16:18). The word "Nave," the part of the church where the congregation sits, came from the Latin word for ship. -
Hidden Treasure-Historical Truth Flowers, the Language of Love by Katherine Bone
Hidden Treasure-Historical Truth Flowers, the Language of Love By Katherine Bone To-morrow is Saint Valentine’s Day. All in the morning betime, And I a maid at your window, To be your Valentine. Ophelia: IV, v:49, Hamlet Prince of Denmark, W. Shakespeare (1564-1616) Valentine’s Day is a day set aside to honor love. How we show affection to others on Valentine’s Day reveals a lot about ourselves. In the past, poets raised the bar by writing passionate sonnets of courtly love. Many of these famous poems by Keats, Byron, and Shakespeare, have been immortalized and whispered throughout the ages, romantically branding hearts. Today, old traditions and poetic sentiments have been transferred to gifts of Valentine’s Day cards, chocolate candy, and flowers. Of the three, however, the most endearing symbol of love can be found in the hidden meanings of flowers. Flowers silently declare, “Be mine!” as in the plea of a dozen red roses. “I can’t live without you!” a devoted primrose insists. “Please forgive me,” implores the purple hyacinth. “There’s rosemary, that’s for remembrance. Pray you, love, remember. And there is pansies, that’s for thoughts.” Ophelia: IV, v 173 “There’s fennel for you, and columbines. There’s rue for you, and here’s some for me. We may call it herb of grace o’ Sundays. O, you must wear your rue with a difference. There’s a daisy. I would give you some violets…” Ophelia: IV, v:179-182, Hamlet Prince of Denmark, W. Shakespeare (1564-1616) In 1718, Lady Mary Wortley Montague wrote the Secret Language of Flowers. -
Shakespeare Garden Flowers and Plants Played an Important Role in the Imagery Throughout Shakespeare’S Literary Masterpieces
Shakespeare Garden Flowers and plants played an important role in the imagery throughout Shakespeare’s literary masterpieces. While some of the blooms are recognizable, others are not as familiar. This is because Shakespeare relied on the language of flowers—symbolic meanings attached to different flowers—to create elaborate metaphors. Below are some of the flowers mentioned in his works: Common Name Latin Name Reference in Shakespeare Literature Language of Flowers ____________________________________________________________________________________________________________ Columbine Aquilegia vulgaris (P) “I am that flower…that columbine.” Resolve to win, anxiety – Love’s Labour’s Lost ____________________________________________________________________________________________________________ Wormwood Artemisia “Wormwood, wormwood.” – Hamlet Absence absinthium (P) ____________________________________________________________________________________________________________ Daisies Bellis perennis (P) “When daises pied, and violets blue / Innocence And lady-smocks all silver white / And cukoo-buds of yellow hue / Do paint the meadows with delight...” – Love’s Labour’s Lost ____________________________________________________________________________________________________________ Calendula Calendula “Hark! Hark! the lark at heaven’s gate Joy, health, officinalis (A) sings,/ And Phoebus ‘gins arise… And remembrance winking Mary-buds begin / to open their golden eyes…” – Cymbeline ____________________________________________________________________________________________________________