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Early Christians Identified Jesus' Shroud with His Royal & Priestly Robe!
Early Christians Identified Jesus’ Shroud With His Royal & Priestly Robe! __________________________ By Larry Stalley1 Copyrighted © 2020 All Rights Reserved ABSTRACT Based on an abundance of scientific and historical evidence that has surfaced in recent years, the author believes the Shroud of Turin is the genuine burial cloth that Joseph of Arimathea purchased and used to wrap the body of Jesus. Peter and “the disciple whom Jesus loved” found the tomb empty of a corpse on Resurrection Day. However, when they found the funeral linens, something about their appearance caused the disciple to “believe” (John 20.8). The cloth was stained with blood and had been defiled by its contact with a corpse. Why then wasn’t the Shroud viewed as “unclean,” discarded and buried? Why did the early Church treasure this piece of linen and seek to safeguard it from opponents and enemies of the Faith? How did they come to perceive this cloth? What beliefs became attached to it? In a former paper2 the author attempted to show that the early Christians likely perceived the Shroud as being the miraculous “sign of Jonah” that Jesus had promised.3 In this paper he will seek to demonstrate that the early Christians also identified Jesus’ Shroud, typologically, as his royal- priestly robe, sanctified by His sacrificial blood! The earthly Shroud was a “type and shadow” of the heavenly robe! With its miraculous image, the Shroud was viewed as being a link between the earthly and heavenly realities. ____________________________________________________ 1. INTRODUCTION Being Jewish and living in Rome during the 1st century had its difficulties! You felt the contempt native Romans held concerning your race! From their unwelcomed glares you could sense their unspoken but heartfelt animosity: Another Jew! I despise you! You despise the customs of our ancestors! You have no idols like all other religions. -
El Rostro De Cristo Y La Santa Faz De Alicante
Archivo Ibero-Americano 75, nº 280 (2015): 327-358 ISSN 0004-0452 IMÁGENES DE FACTURA DIVINA: EL ROSTRO DE CRISTO Y LA SANTA FAZ DE ALICANTE IMAGES OF DIVINE CRAFTSMANSHIP: THE PORTRAIT OF CHRIST AND THE HOLY FACE OF ALICANTE (SPAIN) RAÚL MORALES SANES Universidad de Murcia [email protected] RECIBIDO: 7/07/2016 ACEPTADO: 14/11/2016 Para citar este artículo: Morales Sanes, Raúl. «Imágenes de factura divina: el rostro de Cristo y la Santa Faz de Alicante». Archivo Ibero-Americano 75, nº 280 (2015): 327-358. RESUMEN: ABSTRACT: El presente trabajo pretende hacer un repaso por This paper has the primary intention to offer las principales imágenes acheiropoietai refe- an overview of the main acheiropoeitai images ridas al rostro de Cristo con el fin de elaborar related to the portrait of Christ. Secondly, we have un contexto donde estas se pongan en relación analysed the particular case of the Santa Faz in con la Santa Faz de Alicante. Para la construc- Alicante. In order to explore the context in which ción de dicho marco se abordan temas como el these images were created, we have also studied proceso de legitimación de la imagen en la Edad the strategies of legitimization of images in the Media, las principales imágenes milagrosas no Middle Ages, the most prominent acheiropoietai hechas por manos humanas y las leyendas que a images and the legends that justified many estas acompañan. Finalmente, partiendo de estos particular cases. Finally, we have explored the parámetros, se aborda la llegada de estos cultos motifs and features that accompanied this kind of a tierras hispanas y se lleva a cabo una interpre- images in a Hispanic context and have carried out tación sobre el lienzo alicantino tras cotejar las a more thorough study of the Alicante image by versiones que nos ofrecen los distintos cronistas comparing the different local chronicles referring de dicha ciudad. -
Some Words About Our New Icons…
Some words about our new icons… The Three Holy Youths Mural at Saint Michael Church Greensburg By Nick Papas Why is “The Three Youths” mural appropriate for Saint Michael Church and for this space above the Baptismal font specifically? Actually, I believe it is not merely appropriate, but perfect. It is perfect where it is and why it is. It’s where it is because of The Three Youths’ story’s relationship to Baptism. Its reason for being is perfect because of its relationship to being a memorial for Diana Roberts. The story of this mural comes from The Book of Daniel. It tells of Shadrach, Meshach and Abednego (The Three Holy Youths) and their sure-thing deaths, wherein they are thrown into a furnace to be killed for not submitting to an earthly king. the furnace so hot that the flames of the fire killed the soldiers who took up Shadrach, Meshach and Abednego, and these three men, firmly tied, fell into the blazing furnace. Orthodox Christians hear this story retold every Holy Saturday. It is one of the special, once-a-year, 15 Old Testament readings that are read just hours before, liturgically, the triumphant words “Christ is Risen!” are shouted with unfettered joy! The 15 readings set the stage for what will be experienced liturgically which is a thing which people of faith have experienced throughout the ages... that death is not what it appears to be! Mankind has had this inkling, even to its bones, from the time of the fall in the Garden of Eden. -
Photographing Mary
Photographing Mary Miraculous Photographs in the Global Marian Movement Massimo Introvigne (CESNUR) American Academy of Religion Annual Meeting San Antonio, Texas, November 20, 2016 Miraculous Images ´ “Acheiropoieta,” i.e. icons of the Virgin Mary not produced by human hands, were known since the first centuries of Christianity. Today, there are still images of the Virgin Mary (and Jesus) produced as a result of visions or special spiritual experiences, such as those painted by Illinois’ child prodigy Akiane Kramarik (born in 1994), who produced her most famous works from age 8 to 11 (left) Miraculous Photographs ´ Photography, however, created the possibility of entirely new images: actual photographs of Virgin Mary obtained in different ways ´ The more common were images where Mary was not seen by the naked eye but allegedly appeared when developing photographs and film, normally taken at the sites of Marian apparitions (left, examples from Medjugorje) A Precedent: Spirit Photographs ´ An obvious precedent, but perhaps one the Marian movement would prefer not to hear mentioned, were photographs of spirits. They appeared in pictures taken in the late 19th and early 20th century in the presence of Spiritualist mediums and “spiritual investigators” such as William Hope (1863-1933, right). Spirit photographs were often denounced as frauds, obtained through double exposures and other devious means A Photograph from Venezuela ´ Similar claims started appearing after World War II after developing photographs taken at the sites of Marian apparitions. -
Icons and Saints of the Eastern Orthodox Church Pdf, Epub, Ebook
ICONS AND SAINTS OF THE EASTERN ORTHODOX CHURCH PDF, EPUB, EBOOK Alfredo Tradigo | 384 pages | 01 Sep 2006 | Getty Trust Publications | 9780892368457 | English | Santa Monica CA, United States Icons and Saints of the Eastern Orthodox Church PDF Book In the Orthodox Church "icons have always been understood as a visible gospel, as a testimony to the great things given man by God the incarnate Logos". Many religious homes in Russia have icons hanging on the wall in the krasny ugol —the "red" corner see Icon corner. Guide to Imagery Series. Samuel rated it really liked it Jun 21, It did not disappoint on this detail. Later communion will be available so that one can even utilize the sense of taste during worship. Statues in the round were avoided as being too close to the principal artistic focus of pagan cult practices, as they have continued to be with some small-scale exceptions throughout the history of Eastern Christianity. The Art of the Byzantine Empire — A Guide to Imagery 10 , Bildlexikon der Kunst 9. Parishioners do not sit primly in the pews but may walk throughout the church lighting candles, venerating icons. Modern academic art history considers that, while images may have existed earlier, the tradition can be traced back only as far as the 3rd century, and that the images which survive from Early Christian art often differ greatly from later ones. Aldershot: Ashgate. In the Orthodox Church an icon is a sacred image, a window into heaven. Purple reveals wealth, power and authority. Vladimir's Seminary Press, The stillness of the icon draws us into the quiet so that we can lay aside the cares of this world and meditate on the splendor of the next. -
The Sunday of Orthodoxy / the First Sunday of Great Lent & First
The Sunday of Orthodoxy / The First Sunday of Great Lent & First and second findings of the Honourable Head of John the Baptist 24 February / 9 March 2014 Resurrection Tropar, Tone 4: When the women disciples of the Lord / learned from the Angel the joyous message of Thy Resurrection / they cast away the ancestral curse / and elatedly told the Apostles / death is overcome / Christ God is risen / granting the world great mercy. Troparion of the Forerunner tone 4: The head of the Forerunner has risen from the earth/ and sends forth healing rays of incorruption to all the faithful./ In heaven it is mustering a host of Angels,/ and on earth it is, assembling mankind/ to ascribe glory to our God. The First Sunday of Great Lent, Troparion, Tone II : We worship Thy immaculate Image, O Good One, and ask forgiveness of our sins, O Christ God; for of Thy own will Thou wast pleased to ascend the Cross in the flesh, to deliver from slavery to the enemy those whom Thou hadst created. Therefore we thankfully cry to Thee: Thou hast filled all things with joy, O our Saviour, by coming to save the world. Resurrection Kondak, Tone 4: My Saviour and Redeemer / as God rose from the tomb and delivered the earth-born from their chains / He has shattered the gates of hell, / and as Master, / He has risen on the third day. Kontakion of the Forerunner tone 2: O Prophet of God and Forerunner of Grace,/ having obtained thy head from the earth as a most sacred rose,/ we are always receiving healings;/ for still as of old in the world thou preachest repentance. -
Religious Experience and Photography: the Phenomenology of Photography As Revelatory of the Religious Play of Imagination
Open Theology 2017; 3: 224–234 Phenomenology of Religious Experience Open Access Javier E. Carreño* Religious Experience and Photography: The Phenomenology of Photography as Revelatory of the Religious Play of Imagination DOI 10.1515/opth-2017-0018 Received January 4, 2017; accepted April 13, 2017 Abstract: That there are genuinely religious representations, and that the practice of praying with images involves no confusion of the divine with its representation, are matters firmly established by a phenomenology of imagination such as Edmund Husserl’s. Moreover, such a phenomenological regard can become attentive to the concrete roles played by a viewer’s imagination in his dealings with various sorts of images. I propose to bring these phenomenological insights to show that there is a distinctively religious play of imagination in dealing with religious images. Moreover, I address this question by turning to one kind of representation which Barthes and others have found unsuitable for representing a religious subject, namely, photographic images. While agreeing with some of these reservations, this paper explores some of the ways in which photography may still be found to represent a religious subject, shifting the problem of religious photography from its inherent impossibility to its inadequacy. In doing so, I show that the distinctively religious play of imagination vis-à-vis religious representations cuts a wedge between the depictive and the symbolic, and is rather akin to a metaphorical use of representations. Keywords: Phenomenology, Religion, Imagination, Image, Photography “I may well worship an Image, a Painting, a Statue, but a photograph?”1 With this question, Roland Barthes wants to settle an issue that is not quite as clear for the religious believer who prays with depictive images. -
The Image on the Turin Shroud Is the Sign of Jonah for Our Generation
The Image on the Turin Shroud Is “The Sign of Jonah” For Our Generation! __________________________ By Larry Stalley1 Copyrighted © 2020 All Rights Reserved ABSTRACT What specifically was “the sign of Jonah” that we find Jesus promising in two of the Four Gospels? The interpretation and identification of that Sign has been debated and has been somewhat of a riddle. Even so, the three related passages do reveal identifying markers whereby the genuine Sign of Jonah should become evident. These markers should form a set of criteria so that the genuine Sign can be distinguished from false contenders. This paper will argue that, following the Ascension of Jesus, His burial cloth—bearing its extraordinary miraculous image—was the Father’s witness, His gracious gift for every doubting Thomas, and was intended to be the Sign of Jonah for every ensuing generation. Next to love, the image on the Shroud is the supreme apologetic for the Church! Tags: Shroud of Turin; Sign of Jonah; New Testament; Church history; Matthew 12:38- 42; Matthew 16:1-4; Luke 11:29-32 ________________________________________________ 1. INTRODUCTION Earlier this year the Lord brought Erik and his wife, Kaylee, into my life. She, a Registered Nurse, had no religious upbringing as a child and was Biblically illiterate. Erik, on the other hand, was brought up to believe in the Christian Faith. However, years before we met, he had become disillusioned with the Church and, after graduating from college, professed to be an atheist. Now, however, they were hosting a high-school exchange student, Moana, from Switzerland. She was attending the activities of a Presbyterian youth group in our city. -
A Study of Selected Arts and Symbols in Catholic Liturgical Worship
A STUDY OF SELECTED ARTS AND SYMBOLS IN CATHOLIC LITURGICAL WORSHIP BY UMENNEBUAKU VENATIUS ANAYO A dissertation submitted to the School of Graduate Studies, Kwame Nkrumah University of Science and Technology, Kumasi, in partial fulfillment of the requirements for the degree of MASTER OF PHILOSOPHY in (African Art and Culture) Faculty of Art, College of Art and Social Sciences © July 2012, Department of General Art Studies 1 A STUDY OF SELECTED ARTS AND SYMBOLS IN CATHOLIC LITURGICAL WORSHIP BY VENATIUS ANAYO UMENNEBUAKU KWAME NKRUMAH UNIVERSITY OF SCIENCE AND TECHNOLOGY, KUMASI July, 2012 2 DECLARATION I hereby declare that this submission is my own work towards the Mphil in African Art and Culture and to the best of my knowledge, itcontains neither material previously published by another person nor material whichhas been accepted for the award of any other degree of the University, except wheredue acknowledgement has been cited. VENATIUS UMENNEBUAKU (PG5161810) ………………….. …………… Student name & ID Signature Date Certified by: DR. ERIC APPAU ASANTE …………………… …………………... (Research Supervisor) Signature Date Certified by: NANA AFIA OPOKU- ASARE, (Mrs.) …………………… ……………………. (Head of Department) Signature Date i ABSTRACT This thesis investigates the various art forms and symbols used in Catholic liturgical worship. It also describes, and discusses the use of Symbols in Catholic Liturgical Worship. Many types of art forms exist in Shrines, Churches and other religious places of worship. The Catholic Church is not an exception to this existence of art forms. The existence of these forms of art has become a source of agitation to people who are not conversant to its aims and purposes in religious worship. -
Byzantine Iconoclasm and the Defenders of Icons, John of Damascus and Theodore the Studite
CJT 4 (2017): 49–65 http://journal.etsc.org Byzantine Iconoclasm and the Defenders of Icons, John of Damascus and Theodore the Studite Iakovos Menelaou In Orthodoxy an icon is the image of a person who has been cha- racterized by holiness, possessed of the Holy Spirit, and the reci- pient of the total restoration of God’s image through baptism.1 In the fourth cen- tury, when Christianity was established as the official religion of the Byzantine Empire, the creation of the first great works of Christian art took place.2 Although the use of icons can be con- firmed in that century, the earliest surviving icons only go back to the sixth century.3 It is interesting to note that the origins of icons are asso- ciated with paganism, since Agios Iakovos (Saint Jacob), by Ilias pagan images were the mod- Nearchou, a contemporary artist. The el for Christian iconography icon, paint on wood with some gold, and the same verbal terms shows that iconography is a live tra- dition. 1 Nicolas Ozoline, ‘The Theology of The Icon’, The Greek Orthodox Theological Review 38.1/4 (1993), p. 288. 2 Ναυσικά Πανσέληνου, Βυζαντινή Ζωγραφική: Η Βυζαντινή Κοινωνία και οι Εικόνες της (Athens, 2000), p. 31. 3 Ibid., p. 100. 49 Cairo Journal of Theology were employed for both.4 However, the meaning of Christian icons is completely different from that of pagan images. Christian iconography made use of its own environment’s forms, giving icons a totally new meaning,5 which it obtained from the Scrip- tures, martyrologia, and the lives of the saints. -
“To See the Invisible” in the Contemporary Visual Culture Widzieć Niewidzialne We Współczesnej Kulturze Wizualnej
KULTURA – MEDIA – TEOLOGIA ISSN 2081-89-71 2017 nr 31, s. 8–19 Witold Kawecki The Institute of Dialogue of Culture and Religion Uniwersytet Kardynała Stefana Wyszyńskiego “To See the Invisible” in the Contemporary Visual Culture Widzieć niewidzialne we współczesnej kulturze wizualnej ABSTRACT: STRESZCZENIE: Christianity is a religion in which - the apology of visibility take place, especially throuhgh art. Article attempts to answer the Chrześcijaństwo jest religią w której doko questions: What shoud be the art, that leads nuje się apologia widzialności zwłaszcza - poprzez sztukę. Artykuł usiłuje odpowiedzieć munication dimension of faith. Assumes that jakona pytanie komunikacyjny jaka powinna wymiar być wiary.sztuka, Przyjmuje która toin God.visual Article arts theology alsow justiifies becomes art emboidied as a com prowadzi do Boga. Uzasadnia także sztukę because it is embedded in what is material. Art in this approach, becomes a partner of założenie że w sztukach wizualnych teologia theology in apppealing to the value of beauty staje się ucieleśnioną, bo osadzoną w tym, to the constantly sought-after co materialne. Sztuka w takim ujęciu staje - transcendence. wanejsię partnerką transcendencji. teologii w odwoływaniu się do wartości, piękna, do nieustannie poszuki KEYWORDS: SŁOWA KLUCZOWE: Faith, visual arts, communication faith wiara, sztuki wizualne, komunikacja wiary 1. INTRODUCTION In human life and for one’s religiousness, the image is an extremely important issue. In Spirit of the Liturgy, Joseph Ratzinger notes that “lack of images does not converge with believing in God’s incarnation. Iconoclasm is not a Christian option”.1 Historically, the approach to images has varied. Images used to be terri- fying, especially for theologians who argued that they showed more than the mys- tery allowed. -
Prayer for Church Growth
The mid-week Presanctified Liturgy in particular is an opportunity to receive Christ’s Body and Blood to strengthen us in our spiritual struggles. Even one additional service during the week can help maintain the spiritual connection between Sundays. Holy347 Apostles Ridge Rd, Lansing, Orthodox NY 14882 Church Pilgrimage to the Holy Land: The oca Dept of Evangelization, along with Abp Michael, annound a pillgrimage to the Holy Land, June 4–17, 2017. For more information or to reserve HolyApostlesLansing.org your spot, please visit the diocesan webpage. Fr Joel Brady, Rector 570 251 1963 Lenten Resources: Children’s lessons for the season of Great Lent are available Bill Allard, Senior Warden 607 743 2895 at http://www.goarch.org/archdiocese/departments/religioused/zines/lentzine (Greek Archdio- cese) and at http://dce.oca.org/focus/pascha (OCA Dept. of Christian ed). Installation of Parish Officers: We will install the newly-elected parish council following Sunday of Orthodoxy – Tone 4.MARCH The Restoration 5, of 2017 the Holy Icons. Martyr Conon of Isauria Liturgy next Sunday. Following this, we will hold a parish council meeting. If you are an officer (1st c.). Finding of the Relics of Rt. Blv. Theodore, Prince of Smolensk and Yaroslavl’, and and will not be able to attend, please inform Fr Joel. his children Ss. David and Constantine, Wonderworkers of Yaroslavl’ (1463). Monk Martyr Adrian of Poshekh´onsk(Yaroslavl’, 1550). Martyr Onesimus of Isauria (1st c.). Martyr Conon Welcome Visitors! We warmly welcome all of our visitors! Please know that we are glad to the Gardener, of Pamphylia (3rd c.).