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2002, Művészettörténeti Értesítő LI.
The Living Cross and the Mass of St Gregory. Continuity or Competition? In the early 15th century, a group of peculiar images of the Crucifixion started to appear. Not that strange in literature from the sixties, they were named “Living Cross” according to hands, acting at each of the ends of the Crucifix. Moreover, two opposite allegorical figures – the Ecclesia and the Synagoga – are a constant cast. Still, just a few of such images remain preserved, mostly in wall paintings, tough there are early examples in panel painting and canvas as well. The article revises the catalogue provided by Füglister 1964, adds a few examples of Living Cross, mostly of the Central European origin, discovered since then. Some of the earliest images are exactly dated (1415 – Poniky, 1421 – Bologna), some depict a figure of the pope (the fresco in Poniky, the panel in Chicago). Following those dates and the motif of the pope, theological discussions at the Council of Constance could have played an important role in the forming of the iconography of the Living Cross. The structure of the Living Cross does not follow any precise pattern. Its motives vary; except the main characters, their pictorial organisation seems to be arranged ad-hoc. Thus, they are not far from Arma Christi compositions, popular from the 13th century on. Eventually, the study speculates on the imaginary competition between the Living Cross and the Mass of St Gregory the Pope. Tough the record of the Living Crosses reaches up to the 16th century; they can hardly be paralleled to the success story of the images depicting the vision of St Gregory with the Man of Sorrows (and Arma Christi). * The German summary is provided at the end of the article. The full version in Slovak here: https://www.academia.edu/84002993/%C5%BDiv%C3%BD_kr%C3%AD%C5%BE_a_Om%C5%A1a_sv_Gregora_Kontinuita_alebo_konkurencia
IN T E RN AT IO N A L S CIE N T IF IC C O NF E RE N CE Published papers THE BASILICA OF ST. SOPHIA DURING THE TRANSITION FROM PAGANISM TO CHRISTIANITY
EARLY CHRISTIAN ICONOGRAPHY – THE ROLE OF THE CROSS AND VARIANTS OF CROSSES PRESENT IN THE ART WORKS IN MACEDONIA2018 •
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Instances of the Cross in the Byzantine and Roman-Catholic Religious Art throughout Romania2014 •
This short article represents in fact a more detailed explanation of some peculiarities of the cross and of its symbolicalness, as they can be encountered in various churches and cathedrals throughout Romanian territory, but also in several aspects of daily life. The punctual description of the cross is accompanied by its visual representation. Thus, it can be said that this material aims at being a small anthology of images centered on the theme of the cross, as it can be seen in the major provinces of today`s Romania.
Here I will give an iconographic and hymnological portrayal of the Cross as understood by the Orthodox Church. In order to achieve this we will look into the celebrations of the Cross as practiced within the Byzantine Tradition and the meaning of these events within the life of the Church.
Peuce, serie nouă
A display of faith. The sign of the cross in household contexts from Scythia Minor during the Late Roman Period (5th-6th centuries AD)The paper aims to identify and discuss, based on a specific case study, some of the ways in which the new official religion of the Roman Empire and its “trademark”, the sign of the cross, pervade the everyday life and become embedded in the material culture of the period. The archaeological excavations conducted in Histria/Istros by a team from the University of Bucharest bring a better insight into the life of this ancient city from the Western Coast of the Black Sea (the province of Scythia Minor) during its last phase of existence. The Late Roman/Early Byzantine insula (second half of the 6th – beginning of the 7th centuries AD), currently under research in the Acropolis Centre-South Sector (henceforth ACS), offered so far rich and varied archaeological materials, among which of special interest for this article are objects bearing the sign of the cross or shaped as a cross. These items, such as pots incised with the sign of the cross, lids decorated with relief crosses, fine tableware decorated with stamped crosses, lamps with cross-shaped handles, bricks marked with the cross, bronze weights decorated with the cross, metal cross-shaped elements belonging to hanging devices, seem to be used on a daily basis by the inhabitants and as such represent a constant element in their life. Based on these observations and placing this case study in the larger context of the Roman world, the authors intend to shortly discuss the role and significance of the sign of the cross in household, everyday life, contexts, as a constant reminder, a protection, and a statement of belief, but also as a reflection of the place of this community in the larger socio-economical, ideological, and political network of the Roman Empire.
Ornamentations Around The Symbol Of The Cross : A Comparative Overview-XPLORE RESEARCH JOURNAL,Vol. 10, Issue 1, Dec 2019 ISSN 2249 - 1878
Ornamentations Around The Symbol Of The Cross : A Comparative Overview2019 •
The symbol of the cross from its origin in a pre-Christian phase to its Christianization has gone through a long period of evolution spanning hundreds of years. The cross which was a symbol of shame and punishment for criminals became a Christian symbol in the Holy land representing the passion, death and resurrection of Jesus Christ .It is to be noted that this symbol became popular once Christianity became a popular religion and began to spread with the believers either under patronage or threat. The cross as a symbol itself began evolving with elongation, curves, equalization and ornamentation either on its surface or around it. The evolution of the cross and its ornamentation changes with region, group or sect of Christians and the meaning they gave to it. The ornamentation also represented various facets of Christian theology and philosophy as professed by these various sects. Further more one observes that with the regionalisation of the symbol of the cross - local elements like vegetation, fruits , fauna and cultic symbols get incorporated , as seen in the cases of India, Armenia, etc .Thus the resultant combination of the cross symbol with its evolving and distinguishing ornamentation serve as a window into the coming of Christianity into those respective localities, how the two communities interacted, the level of their religio-intellectual interaction, etc. In the following paper the researcher aims at making a cross cultural comparison between few of the ancient crosses like Nestorian Crosses, Armenian Khachkar, Persian Crosses in India , etc. Here along with the examination of the cross itself the ornamentation will be studied and put into context of the locality where these crosses are found , while making an attempt to separate what was originally brought by the early missionaries either in tangible or intangible form.
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