Illustrated Textual Amulet: Extracts from Four Gospels
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The Qumran Collection As a Scribal Library Sidnie White Crawford
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Sidnie White Crawford Publications Classics and Religious Studies 2016 The Qumran Collection as a Scribal Library Sidnie White Crawford Follow this and additional works at: https://digitalcommons.unl.edu/crawfordpubs This Article is brought to you for free and open access by the Classics and Religious Studies at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Sidnie White Crawford Publications by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. The Qumran Collection as a Scribal Library Sidnie White Crawford Since the early days of Dead Sea Scrolls scholarship, the collection of scrolls found in the eleven caves in the vicinity of Qumran has been identified as a library.1 That term, however, was undefined in relation to its ancient context. In the Greco-Roman world the word “library” calls to mind the great libraries of the Hellenistic world, such as those at Alexandria and Pergamum.2 However, a more useful comparison can be drawn with the libraries unearthed in the ancient Near East, primarily in Mesopotamia but also in Egypt.3 These librar- ies, whether attached to temples or royal palaces or privately owned, were shaped by the scribal elite of their societies. Ancient Near Eastern scribes were the literati in a largely illiterate society, and were responsible for collecting, preserving, and transmitting to future generations the cultural heritage of their peoples. In the Qumran corpus, I will argue, we see these same interests of collection, preservation, and transmission. Thus I will demonstrate that, on the basis of these comparisons, the Qumran collection is best described as a library with an archival component, shaped by the interests of the elite scholar scribes who were responsible for it. -
Jeremiah 8:8: Why Are Scribes Accused of Corrupting The
H.L. Bosman Faculty of Theology, JEREMIAH 8:8: WHY Stellenbosch University, ARE SCRIBES ACCUSED South Africa. OF CORRUPTING E-mail: [email protected] THE TORAH? DOI: http://dx.doi. org/10.18820/23099089/ ABSTRACT actat.Sup26.7 Why are scribes accused, in Jeremiah 8:8-9, of corrupting ISSN 1015-8758 (Print) the “tôrāh”? The article contemplates possible answers ISSN 2309-9089 (Online) to this question against the background of what is presupposed in the Book of Jeremiah with regards to Acta Theologica 2018 “tôrāh” and being a scribe. Does this confront one with Suppl 26:118-135 a response triggered by the reformation of Josiah (older © Creative Commons interpretation) or by an indication of what took place much With Attribution (CC-BY) later during the gradual combination of Torah and Nebi’im as authoritative scripture in Persian and Hellenistic times (recent interpretation)? The article distinguishes between oral common law and written statutory law, in order to rectify anachronistic interpretations of all biblical laws as statutory laws (Berman 2014). The change from oral to written law, facilitated by the scribes, caused a legitimacy crisis and can be explained against the background of a new understanding of what “word of God” or “revelation” entailed (Van der Toorn 2013). 1. INTRODUCTION While reflecting on what might be an appropriate topic for this Festschrift, I assumed that the link between prophecy, the law and wisdom might be of some interest to Fanie Snyman, given his longstanding interest in Malachi and post-exilic prophecy. The decision to focus on Jeremiah 8:8 was triggered by the fact that there are only two references in the Old Testament where scribes are identified as writers of biblical texts and both of them are in the Book of Jeremiah (8:8-9; 36:18). -
The Man of Sorrows and Christ Blessing the Chalice As
193 The Man of Sorrows and Christ Blessing the Chalice: The Pre-Reformation and the Utraquist Viewpoints Zuzana Všetečková (Prague) At the start I wish to thank Dr. Milena Bartlová, who has made available for my examination her lecture, prepared for the Conference on Jan Hus, as well the recent article of the Hungarian scholar, Dóra Sallay, dealing with eucharistic Man of Sorrows, the development of the iconography of his depiction, its function and interpretation.1 Miri Rubin’s book Corpus Christi undoubtedly also belongs among these works.2 These researchers stressed, above all, the iconographic type of the Man of Sorrows, which derived from the Eastern depictions, and from the mosaic in the Church of Santa Croce in Jerusalem in Rome. The topos of the Man of Sorrows was often interpreted in connection with the Good Friday hymns and with the text of Isaiah 53:3-5, which describes the suffering of a man who has taken on all human sorrows. The text is usually read at the liturgy on Good Friday. The above-mentioned researchers further noted that within the ambiance of Western Christendom this topos served as a visual image of Corpus Christi, and its theological content emphasized the real presence and transubstantiation. In addition, I am glad to thank Dr. Hana Vlhová for letting me study her article, dealing with mass chants for the feast of Corpus Christi in late medieval Bohemia.3 The study supports, from the viewpoint of liturgical song, my explanatory hypothesis of the Man of Sorrows from the late fourteenth through the fifteenth centuries. -
'A Man of Sorrows, and Acquainted with Grief'
‘A Man of Sorrows, and Acquainted with Grief’ Imagery of the Suffering Christ in the Art of the Late Medieval Low Countries and Counter-Reformation Spain Candidate Number: R2203 MA Art History, Curatorship and Renaissance Culture The Warburg Institute, School of Advanced Study 30/09/2015 Word Count: 14,854 Table of Contents Introduction 3 Chapter 1: The Man of Sorrows – A Reassessment 6 Chapter 2: Early Netherlandish Images of the Suffering Christ 14 Chapter 3: Counter-Reformation Spanish Polychrome Sculptures 21 Chapter 4: Comparison and Analysis: Netherlandish Influences on Spanish Polychrome Sculpture 27 Conclusion 35 Figures 37 Table of Figures 56 Bibliography 58 2 Introduction During the later Middle Ages in Europe, there was a great increase in private devotion: a rise in the production of Books of Hours, the increase of mendicant orders and the new development of private chapels in churches and cathedrals all contributed towards religion being much more personal and intimate than ever before.1 Especially in Northern Europe, where the Imitatio Christi of Thomas à Kempis2 gained previously unknown popularity, private devotion was encouraged. The Devotio Moderna, which took hold especially in the Low Countries and Germany, emphasised a systematic and personal approach to prayer.3 Devotional images, which could engage with believers on a one-on-one, personal level, were majorly important features of way of practising religion, and the use of images as foci for devotion was encouraged by many writers, not only Thomas à Kempis, but also -
LACHLAN TURNBULL the Man of Sorrows and the King of Glory in Italy, C
Lachlan Turnbull, The Man of Sorrows and the King of Glory in Italy, c. 1250-c. 1350 LACHLAN TURNBULL The Man of Sorrows and the King of Glory in Italy, c. 1250- c. 1350 ABSTRACT The Man of Sorrows – an iconographic type of Jesus Christ following his Crucifixion – has received extensive analytical treatment in the art-historical literature. Following a model that draws scholarly attention to the dynamics of cross-cultural artistic exchange in the central Middle Ages, this article reconsiders recent advances in the scholarly literature and refocusses analysis upon the Man of Sorrows within the context of its ‘shared’ intercultural heritage, suspended between Byzantium and the West, as an image ultimately transformed from liturgical icon to iconographic device. Introduction The image of Jesus’ Crucifixion was originally believed to be either so scandalous, or considered so absurd, that the iconographic means by which to depict it constituted an almost reluctantly-developed theme in Christian art.1 Recent research indicates that Christian Crucifixion iconography emerged in the fourth century and emphasised the salvific – which is to imply, triumphal – aspect of Jesus’ death.2 ‘The Passion’, commencing with the betrayal of Jesus by his disciple Judas Iscariot, culminating in Jesus’ redemptive sacrifice by his Crucifixion and ending with his Resurrection, is a critical narrative in Christian faith.3 The reality of the Crucifixion, including the penetration of Jesus’ side and the issuing of blood and water,4 are pivotal mystic concepts linked to the key Christian doctrines of transubstantiation and sacrificial resurrection, and thus to the efficacy of the Eucharistic Mystery and Christian communion.5 The twinned natures of Jesus, his humanity and divinity, underpin the salvific significance of his death, and the image of his crucified body reinforces the memory of, identification with, and sympathy for Jesus whilst reinforcing the message of his ultimate return. -
The Book of Esther Cambridge University Press Ware House
'!'HE CAMBRIDGE BIBLE FOR SCHOOLS AND COLLEGES GENERAL EDITOR FOR THE OLD TESTAMENT: A. F. KIRKPATRICK, D.D. DEAN OF ELY THE BOOK OF ESTHER CAMBRIDGE UNIVERSITY PRESS WARE HOUSE, c. F. CLAY, MANAGER. U.onl:lon: FETTER LANE, E.C. 4illasgabJ: 50, WELLINGTON STREET. l.eip)ig: F. A BROCKHAUS, j4cb; liort.: G. P. PUTNAM'S SONS. Jilomua~ anb Qt:alcutta: MACMILLAN AND CO., Lw. [All Rights reserwd] THE BOOK OF ESTHER With Introduction and Notes by THE REY. A. w. STREANE, D.D. Fellow of Corpus Christi College, Cambridge CAMBRIDGE: at the University Press r907 Qt11mbtibgt: PRINTED BY JOHN CLAY, M.A. AT THE UNIVERSITY PRESS. PREFACE BY THE GENERAL EDITOR FOR THE OLD TESTAMENT. THE present General Editor for the Old Testament in the Cambridge Bible for Schools and Colleges desires to say that, in accordance with the policy of his predecessor the Bishop of Worcester, he does not hold himself responsible for the particular interpreta tions adopted or for the opinions expressed by the editors of the several Books, nor has he endeavoured to bring them into agreement with one another. It is inevitable that there should be differences of opinion in regard to many questions of criticism and interpretation, and it seems best that these differences should find free expression in different volumes. He has endeavoured to secure, as far as possible, that the general scope and character of the series should be observed, and that views which have ·a reasonable claim to consideration should not be ignored, but he has felt it best that the final responsibility should, in general, rest with the individual contributors. -
14, Arma Christi
Portland State University PDXScholar Kerver Book of Hours: 2018 Senior Capstone Special Collections: Rare Books & Manuscripts 2018 14, Arma Christi Bridget Eide Follow this and additional works at: https://pdxscholar.library.pdx.edu/kerverbook Part of the History of Religion Commons, and the Medieval History Commons Let us know how access to this document benefits ou.y Recommended Citation Eide, Bridget, "14, Arma Christi" (2018). Kerver Book of Hours: 2018 Senior Capstone. 1. https://pdxscholar.library.pdx.edu/kerverbook/1 This Book is brought to you for free and open access. It has been accepted for inclusion in Kerver Book of Hours: 2018 Senior Capstone by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. Arma Christi Bridget Eide In this Kerver Book of Hours (c.1507), there are two Arma Christi pages and both include the Instruments of the Passion. The Arma Christi and the Instruments of the Passion images found within a medieval book of hours were used for purposes of prayer and reflection. As part of their spiritual discipline, daily prayer was a routine practice and was believed to bring the reader closer to God.1 Sensory stimulation from the images, either through visual or aural contact, was a way for the reader to gain indulgences for their sins.2 Indulgences were believed to be offered to the readers by their reciting of prayers, while either looking or touching the image, either touching it with their hand or placing a kiss on or just below the image.3 The two images in this book appear to have come from the same metalcut plate and include the same instruments. -
Baruch the Scribe: Preserver of Knowledge and Model for Librarians Roger White Ed.D
Volume 52 Article 3 Issue 1 Volume 52: 1 & 2 combined issue 2009 Baruch the Scribe: Preserver of Knowledge and Model for Librarians Roger White Ed.D. Azusa Pacific nU iversity The Christian Librarian is the official publication of the Association of Christian Librarians (ACL). To learn more about ACL and its products and services please visit http://www.acl.org/ Follow this and additional works at: http://digitalcommons.georgefox.edu/tcl Part of the Library and Information Science Commons Recommended Citation White, Roger Ed.D. (2009) "Baruch the Scribe: Preserver of Knowledge and Model for Librarians," The Christian Librarian: Vol. 52 : Iss. 1 , Article 3. Available at: http://digitalcommons.georgefox.edu/tcl/vol52/iss1/3 This Article is brought to you for free and open access by Digital Commons @ George Fox University. It has been accepted for inclusion in The Christian Librarian by an authorized editor of Digital Commons @ George Fox University. For more information, please contact [email protected]. Baruch the Scribe: Preserver of Knowledge and Model for Librarians Roger White, Ed.D. Introduction time a symbolic act illustrating the pending fate Professor, University Libraries and sinking of Babylon (Jeremiah 51:60-64). Azusa Pacific University Baruch, the loyal scribe of the prophet Jeremiah, is a bible character whose career can Because much more is known about Baruch be considered a vocational forerunner to that both from the biblical text and supporting ABSTRACT of the professional librarian. His life and legacy references, his life and vocation will be used yield several important lessons applicable to as the focus for the current discussion. -
The Dead Sea Scrolls
A VISIT TO SOME DEAD SEA SCROLLS. November 2007 As remembered by Bill Huntley and Lillian Larsen On this morning after the encounter with some of the Dead Sea Scrolls in San Diego's Museum of Natural History, I find myself inspired by the memorable encounter with the ancient writings and those who hid them for almost two thousand years in the caves near Qumran, the keen questions and insights of a hundred Redlands students, alums, and their friends,; and the organizing skills of Ms. Coco Haupt who brought us all together for a day of inquiry. I must confess to some anxiety at the prospect of trying to answer questions from a hundred different perspectives when I was not sure which scrolls would be on display, my first move was to invite my new colleague in Religious Studies at the U. of R.; Dr, Lillian Larsen, who teaches Christian Scriptures as well as World Religions. She brings a background in Greek and Coptic languages to the Scrolls, more recent than my study 40 years ago in a class in which we were assigned small fragments of the Hodayot (Psalm Scroll). Driving down for this opportunity, as I went over the hill South of Temecula and saw first hand the extent of the fires on both sides of the 15 Freeway, it framed what I might say today. What I saw on the 15 Freeway gave a sense of the destruction that happened just last week, [and 2000 years ago at] Qumran. Those who wrote the Scrolls met just such a fate, by the human agency of the Romans. -
Scribal Culture and the Making of the Hebrew Bible Karel Van Der Toorn
BYU Studies Quarterly Volume 51 | Issue 2 Article 16 4-1-2012 Scribal Culture and the Making of the Hebrew Bible Karel van der Toorn Robert L. Maxwell Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation van der Toorn, Karel and Maxwell, Robert L. (2012) "Scribal Culture and the Making of the Hebrew Bible," BYU Studies Quarterly: Vol. 51 : Iss. 2 , Article 16. Available at: https://scholarsarchive.byu.edu/byusq/vol51/iss2/16 This Book Review is brought to you for free and open access by the All Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. van der Toorn and Maxwell: Scribal Culture and the Making of the Hebrew Bible Karel van der Toorn. Scribal Culture and the Making of the Hebrew Bible. Cambridge, Mass.: Harvard University Press, 2007. Reviewed by Robert L. Maxwell arel van der Toorn, president of the University of Amsterdam and K author of numerous books dealing with aspects of the Bible and ancient Israel, claims to have been writing an introduction to the Bible when he dis- covered that he was writing an altogether different book—an exploration of scribal culture in the Near East as a means to better understand the making of the Hebrew Bible. The developments he studies will be particularly inter- esting to members of The Church of Jesus Christ of Latter-day Saints, since he explores the generations surrounding the Babylonian exile, including the time of the migration of Lehi and his family from Jerusalem. -
'Your Body Is Full of Wounds': References, Social Contexts And
Science Museum Group Journal ‘Your body is full of wounds’: references, social contexts and uses of the wounds of Christ in Late Medieval Europe Journal ISSN number: 2054-5770 This article was written by Johanna Pollick, Emily Poore, Sophie Sexon, Sara Stradal 04-13-2021 Cite as 10.15180; 211503 Research ‘Your body is full of wounds’: references, social contexts and uses of the wounds of Christ in Late Medieval Europe Published in Spring 2021, Issue 15 Article DOI: http://dx.doi.org/10.15180/211503 Abstract In this collaborative essay, the authors investigate the different ways in which representations of the wounds of Christ functioned in devotional practices as well as within a wider European context. The first section considers the wounds of Christ rendered as life-giving wells in Princeton MS Taylor 17, a fifteenth-century Middle English prayer book, focusing on their relationship to contemporary secular imagery as well as devotional literature about the heart. The second section focuses on the illustration on a Syphilisblätter, Dürer’s ‘Syphilitic Man’ (1496), and considers the visual referents relied on by the artist to communicate complex devotional ideas. This section also considers Dürer’s own relationship to philopassianism and positions this image within the artist’s oeuvre. The third section focuses on the Loftie Hours and the Hours of Bonne of Luxembourg, both produced for female patrons in the Later Medieval period. Through consideration of the patterns of wear and intervisual relationships with contemporary illustrations of vulvas, the potential of these manuscripts to express different gendered positions alongside pious and devotional practices is examined. -
The Shroud and the Stone
Text © James F. Day 2020 2 The Shroud and the Stone The Turin Shroud and the Medieval Paschal Mystery James Day Orange County, California [email protected] Abstract The Shroud and the Stone proposes a new way of looking at the Shroud of Turin: as a way to deepen understanding of the Paschal Mystery, the mystery of suffering, the dignity of the Redemption, by rediscovering the beauty of medieval Paschal devotions and how these rich expressions of Christ’s Passion, Death and Resurrection can be reintroduced to today’s faithful. Doorway to a Lost World There is a telling line in the epitaph of Conrad I the Peaceful, king of Burgundy, who reigned until his death in AD 993, that summarizes the inherent worldview of the people we will meet in the pages ahead. The part of the inscription reads, in its English translation: “You who wear precious clothes and who endlessly accumulate wealth that will not benefit you, know that you will be satisfied with few possessions after your death. Sufficient the shroud and the stone.”1 What more is there to add about the world famous Shroud of Turin? It has been analyzed and argued over for centuries. But might it be able to unlock for us a door into how ancestors in the faith meditated upon the Paschal Mystery, the Passion, Death, and Resurrection of Jesus Christ? Indeed, so important was the physical death of Jesus, the burial of his crucified body, and ultimately the abandoned tomb — the central events of Christianity — it enraptured the medieval mind.