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Ideas and Images Serving Christianity: Words Illustrated by Forms and...
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Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words

A special issue of Religions (ISSN 2077-1444). This special issue belongs to the section "Religions and Humanities/Philosophies".

Deadline for manuscript submissions: closed (30 June 2024) | Viewed by 28994

Printed Edition Available!
A printed edition of this Special Issue is available here.

Special Issue Editor

Prof. Dr. José María Salvador-González

E-Mail Website
Guest Editor
Department of Art History, Complutense University of Madrid, 28040 Madrid, Spain
Interests: religious studies; Christianity; Mariology; iconography; medieval studies; intellectual history; social history
Special Issues, Collections and Topics in MDPI journals

Special Issue Information

Dear Colleagues,

It is well known that Christianity is essentially a religion of the word. Based from the outset on the canonical word of the sacred writings of the Old and New Testament, the exegetical and catechetical word is now required to be able to interpret the doctrinal contents underlying the scriptures. In doing so, they are disseminated in the community of believers in pedagogical discourses of various kinds, from rigorous theological treatises to elaborate liturgical hymns and simple homilies. This process aids in bringing to light the sometimes cryptic founding scriptures via other hermeneutical words, based on the necessary doctrinal teaching to the masses.

On the other hand, the image appears early on in Christianity—especially in historical periods, such as the Middle Ages, when the vast majority of the population was illiterate—as indispensable support and a complement to the word. Thus, the word becomes an image, as the visible materialization of an idea. However, at the same time, the word has to come in support of the image, as an explanatory verbalization of the image, especially when the iconic appearance is not evident through all of its objective or symbolic details. This is how the essential intertwining between word and image in Christianity becomes evident: word reflected in image, and image revealed by the word.

The fundamental purpose of this Special Issue of Religions is to draw upon several specialists in various academic fields who can debate this specific subject matter from an interdisciplinary and transversal perspective.

We seek to invite contributions from a large range of academic disciplines, such as Church history, Mariology, theology, philosophy, iconography, arts and humanities, cultural studies, sociology, and other branches of knowledge, to contribute to shaping a monography with a multifocal approach that aspires to provide a valuable supplement to the existing literature.

In this regard, examples are provided below of potential contributions to be included:

  • Analyze the role of Christian images as a useful tool for teaching the theological message in different European contexts.
  • Interpret some Christian images in light of the theological discourse.
  • Offer new insights about doctrinal approaches to Christian iconography.
  • Offer empirical case studies to formulate new iconographic analyses.
  • Explore the interaction of Christian words (theology) and images with new methods of approach.
  • Provide interdisciplinary insights on the questions addressed.

Prof. Dr. José María Salvador-González
Guest Editor

Manuscript Submission Information

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Submitted manuscripts should not have been published previously, nor be under consideration for publication elsewhere (except conference proceedings papers). All manuscripts are thoroughly refereed through a double-blind peer-review process. A guide for authors and other relevant information for submission of manuscripts is available on the Instructions for Authors page. Religions is an international peer-reviewed open access monthly journal published by MDPI.

Please visit the Instructions for Authors page before submitting a manuscript. The Article Processing Charge (APC) for publication in this open access journal is 1800 CHF (Swiss Francs). Submitted papers should be well formatted and use good English. Authors may use MDPI's English editing service prior to publication or during author revisions.

 

Keywords

  • Christianity
  • Cristian doctrine
  • Patrology
  • theology
  • Christian iconography
  • Church history
  • medieval culture
  • Christian society
  • popular devotion
  • religious experience
  • liturgical hymns
  • interdisciplinary studies
  • Middle Ages
  • Renaissance

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Published Papers (13 papers)

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Research

31 pages, 14800 KiB  
Article
An Ontology of the Word in Catalan Romanesque Culture
by Alfons Puigarnau
Religions 2025, 16(1), 33; https://doi.org/10.3390/rel16010033 - 31 Dec 2024
Viewed by 884
Abstract
The history of culture in Catalonia during the Romanesque period (9th–12th centuries) has often been written from a strongly positivist mentality, which is a reductionistic approach. Economic history has distorted this period’s intellectual and cultural history. This article presents a compelling analysis of [...] Read more.
The history of culture in Catalonia during the Romanesque period (9th–12th centuries) has often been written from a strongly positivist mentality, which is a reductionistic approach. Economic history has distorted this period’s intellectual and cultural history. This article presents a compelling analysis of a series of manuscripts from the monastery of Ripoll in the context of Catalonia’s visual and intellectual culture between the 10th and 12th centuries. These writings demonstrate the pivotal role of the arts of the word (dialectic, rhetoric, and grammar) in this cultural center of great European significance. They also illustrate the formative influence of this institution on Gerbert of Aurillac, who would become Pope Sylvester II and the fruitful period of Abbot Oliba. Other artworks and musical manuscripts contribute to understanding a profound ontology of the word in Catalonia and prepare the ground for its cultural renaissance in the 12th century. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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43 pages, 15068 KiB  
Article
The Merchant Scene in Medieval Conceptions of the Visitatio Sepulchri: Origins and Transmission
by Patricia Peláez Bilbao and Arturo Tello Ruiz-Pérez
Religions 2024, 15(12), 1441; https://doi.org/10.3390/rel15121441 - 27 Nov 2024
Viewed by 2613
Abstract
This article aims to elucidate the origin of the merchant scene within the Easter drama, which can, by extension, be interpreted as representative of the entire Visitatio Sepulchri. Given that the troper-proser Vic 105 is the oldest attestation of the scene, we [...] Read more.
This article aims to elucidate the origin of the merchant scene within the Easter drama, which can, by extension, be interpreted as representative of the entire Visitatio Sepulchri. Given that the troper-proser Vic 105 is the oldest attestation of the scene, we have used this manuscript as our starting point. Through a critical edition of the first nine stanzas of the drama, we propose a multidisciplinary working hypothesis that combines tools from reception history and cultural transfers studies with more traditional methods of stemmatics. As part of an ongoing project, we present two types of results: those that are well-supported by strong evidence, and others in the form of plausible hypotheses, awaiting further data to be substantiated. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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7 pages, 226 KiB  
Article
Communio—“Icon” of Personal Fulfillment: Ratzinger on God and the Human Being
by Wiesław Łużyński
Religions 2024, 15(11), 1324; https://doi.org/10.3390/rel15111324 - 29 Oct 2024
Cited by 1 | Viewed by 961
Abstract
Joseph Ratzinger points to the dialogical nature of the human being. Indeed, the human is by nature called to live in relationships, and for him/her social life is a natural environment of existence. This need, which humans discover within themselves, has its source [...] Read more.
Joseph Ratzinger points to the dialogical nature of the human being. Indeed, the human is by nature called to live in relationships, and for him/her social life is a natural environment of existence. This need, which humans discover within themselves, has its source in Communio Trinitatis, the profound communion of the three Divine Persons. In essence, God is not a loner but an eternal dialogue of love. As evidence of this, He created the human being in His image and likeness. The human’s role model lives in a relationship of love. Hence, the individual also discovers a deep need within him/herself for interpersonal communication. In this respect, it is healing for a person to live in a relationship. Firstly, because the dialogue of faith with God is true healing and salvation for the human being. Secondly, relationships with other humans also have an enriching impact on their personality. However, J. Ratzinger stresses that isolation alienates people and even leads to illness or death. Meanwhile, a living relationship with God and other people transforms the human person and ensures personal growth. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
38 pages, 16493 KiB  
Article
Interpreting Visuality in the Middle Ages: The Iconographic Paradigm of the Refectory of the Monastery of San Salvador de Oña
by Ana Maria Cuesta Sánchez
Religions 2024, 15(9), 1092; https://doi.org/10.3390/rel15091092 - 9 Sep 2024
Viewed by 1391
Abstract
The research area of the interaction between religion, politics, and medieval Hispanic art has been pioneering and at the cutting edge of contemporary historiography in recent years. The deployment of iconographic and calligraphic motifs in medieval religious spaces has been identified as a [...] Read more.
The research area of the interaction between religion, politics, and medieval Hispanic art has been pioneering and at the cutting edge of contemporary historiography in recent years. The deployment of iconographic and calligraphic motifs in medieval religious spaces has been identified as a key means of propagating legitimating messages of power and disseminating Christian doctrines. This interdisciplinary study proposes an analysis of the artistic vestiges present in the refectory of the Monastery of San Salvador de Oña (Burgos), with a view to establishing their decorative evolution during the 14th century and their symbolic significance. In order to establish a chronological proposal for the remains, the historical, artistic, and architectural contexts of the monastery are analyzed. This is complemented by a study of materials and techniques and a symbolic and iconographic analysis of the signs of power and evangelical concepts from the time of Pedro I until the transition to the Trastámara dynasty. In this way, a cross-disciplinary investigation is proposed, with the aim of elucidating how a sacred artistic work situated within a secular context can serve multiple purposes of political and religious legitimation through the adaptation of its iconography over time. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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22 pages, 6335 KiB  
Article
Saepius Legentes ac Sedulo Conspicientes: Reading the Image, Contemplating the Text in Hrabanus Maurus’ Carmina Figurata
by Ana B. Sanchez-Prieto
Religions 2024, 15(8), 963; https://doi.org/10.3390/rel15080963 - 8 Aug 2024
Viewed by 1057
Abstract
De Laudibus Sanctae Crucis (DLSC) by Hrabanus Maurus is a seminal work in the medieval Christian literature that explores the Cross as the central structure of the universe through a unique amalgamation of poetry, prose, and visual art. The work employs [...] Read more.
De Laudibus Sanctae Crucis (DLSC) by Hrabanus Maurus is a seminal work in the medieval Christian literature that explores the Cross as the central structure of the universe through a unique amalgamation of poetry, prose, and visual art. The work employs a multi-layered narrative that enriches the reader’s understanding, encouraging a meditative interaction with the text that emphasizes the contemplative over the recitative. This paper analyzes Hrabanus’s intricate use of verbal and visual elements to guide his readers into a profound meditation on the universal significance of the Cross. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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21 pages, 3231 KiB  
Article
Christian Iconography on Ming and Qing Chinese Porcelain: Religious Influence and Artistic Hybridization
by Mo Guo
Religions 2024, 15(4), 472; https://doi.org/10.3390/rel15040472 - 11 Apr 2024
Cited by 1 | Viewed by 2986
Abstract
Since the arrival of Christian missionaries in China through maritime trade networks, missionary activities have been changing from the 16th century to the 18th century. Christian missionaries faced numerous challenges stemming from cultural context and religious policies in China. Throughout history, various religious [...] Read more.
Since the arrival of Christian missionaries in China through maritime trade networks, missionary activities have been changing from the 16th century to the 18th century. Christian missionaries faced numerous challenges stemming from cultural context and religious policies in China. Throughout history, various religious strategies have been employed to address these challenges. The use of Chinese porcelain to depict Christian imagery holds significant importance. The present study is focused on four representative Chinese porcelains dating from the Ming to Qing dynasties, each associated with specific phases of Christianity in China. Examining the connections between the Christian mission in China and Christian iconography on Chinese porcelain leads to the conclusion that the visual culture associated with the Christian mission in China is influenced by and reflects intercultural or interreligious dialogue with mutual understanding. In the meantime, it signifies an intricate process of interaction, appropriation, hybridization, and adaptation, through which Christian iconography gained new significance on Chinese porcelain. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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10 pages, 264 KiB  
Article
Philosophical Reflection on Beauty in the Late Middle Ages: The Case of Jean Gerson
by David Torrijos-Castrillejo
Religions 2024, 15(4), 434; https://doi.org/10.3390/rel15040434 - 30 Mar 2024
Cited by 1 | Viewed by 1362
Abstract
The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is [...] Read more.
The late Middle Ages witnessed a recapitulation of medieval reflection on beauty. Jean Gerson is an important representative of these philosophical and theological contributions, although he has been largely neglected up to this time. A first dimension of his ideas on beauty is the incorporation of beauty (pulchrum) into the number of transcendentals, i.e., the concepts “convertible” with the notion of being (ens), that is, unity, truth, and goodness (unum, verum and bonum). This article revisits Monica Calma’s study on Gerson’s theory of beauty and suggests new hypothetical sources that may have inspired this aspect of his thought. The second aspect emphasised here is Gerson’s classification of beauty, which entails some similarities to the one of Ulrich of Strasbourg, but also differs from it. Moreover, its incorporation of a division entirely devoted to artistic beauty is highly remarkable. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
16 pages, 5001 KiB  
Article
Visual Exegesis of Herodias and Salome from Feminist Rhetorical Criticism: The Construction of a Myth
by Cristina Expósito de Vicente
Religions 2024, 15(3), 328; https://doi.org/10.3390/rel15030328 - 8 Mar 2024
Viewed by 3062
Abstract
The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist [...] Read more.
The biblical account of Salome has been marked throughout history by two main themes: on the one hand, the princess’s dance in front of the main rulers of Galilee, and on the other hand, the request for the head of John the Baptist to King Herod, instigated by his mother Herodias. The reading of this passage has been strongly marked by the different patriarchal exegetical approaches, which have modulated the reception of both female characters being traceable through the visual and literary arts, to the point of taking on the concept of femme fatale. Really, in both moments Salome is the executor of the actions, not as a result of her capacity for agency, but due to her influenceable character. Through a critical–historical analysis of the biblical passage, Herodias and Salome emerge with characteristics quite different from what 19th-century Art History inherited. The methodology of feminist rhetorical criticism allows for an approach to the visual re-imaginings of this biblical passage that have shaped the iconography of these two figures. The field of visual arts, particularly the production of the late 19th and early 20th centuries, will be the great receptacle for the genesis of the fatality and assimilation of these female biblical figures. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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25 pages, 8451 KiB  
Article
On the Perfect Sphere: The Preference for Circular Compositions for Depicting the Universe in Medieval and Early Modern Art
by Roger Ferrer-Ventosa
Religions 2024, 15(2), 171; https://doi.org/10.3390/rel15020171 - 30 Jan 2024
Cited by 1 | Viewed by 3351
Abstract
This essay explores circular compositions in medieval and early modern art. Delving into the intersection of religious, philosophical, and scientific ideas, the text examines the prevalence of circular depictions in medieval and early modern aesthetics. Utilizing an interdisciplinary approach, the author draws from [...] Read more.
This essay explores circular compositions in medieval and early modern art. Delving into the intersection of religious, philosophical, and scientific ideas, the text examines the prevalence of circular depictions in medieval and early modern aesthetics. Utilizing an interdisciplinary approach, the author draws from primary Hermetic and Neoplatonic sources, providing four reasons for this preference. Firstly, this essay explores the scientific understanding of the shape of the universe, planets, and stars. The second reason delves into the psychological, symbolic, and geometric aspects associated with circular compositions, connecting them to Christian cosmological diagrams and symbolism in the visual arts. Furthermore, the essay investigates the conceptualisation of the universe as a mirror reflecting the divine, emphasising the role of beauty in religious art. The essay concludes by examining the visual culture of medieval and early modern periods, tracing the evolution of circular representations from Roman coins and shields to illuminated manuscripts and paintings. The article sheds light on a hitherto underexplored aspect of medieval and early modern cultures, despite its significance in shaping symbolism and organizing iconographic programs within these periods. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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17 pages, 2894 KiB  
Article
Hortus Conclusus: A Mariological Symbol in Some Quattrocento Annunciations, According to Church Fathers and Medieval Theologians
by José María Salvador-González
Religions 2024, 15(2), 143; https://doi.org/10.3390/rel15020143 - 23 Jan 2024
Cited by 3 | Viewed by 2122
Abstract
This paper seeks to interpret the biblical metaphor of the hortus conclusus (closed garden) according to a Mariological projection, as presented iconographically in various Quattrocentro Annunciations. The author bases his interpretations on the exegesis developed by many Latin and Greek-Eastern Church Fathers and [...] Read more.
This paper seeks to interpret the biblical metaphor of the hortus conclusus (closed garden) according to a Mariological projection, as presented iconographically in various Quattrocentro Annunciations. The author bases his interpretations on the exegesis developed by many Latin and Greek-Eastern Church Fathers and theologians, who considered this metaphorical expression of the Song of Songs to symbolize Mary’s virginal divine motherhood and perpetual virginity. Their textual interpretations of this doctrine helps elucidate the Mariological meaning in six Quattrocento paintings that include a more or less explicit “closed garden.” These six paintings present a closed garden as a visual metaphor illustrating the Mariological dogmas unveiled by the Church Fathers and theologians when explaining this biblical metaphor. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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23 pages, 1886 KiB  
Article
The Importance of Literary Sources in the Pictorial Tradition of the Beatus Manuscripts: The Case of Percussion Musical Instruments
by José María Diago Jiménez
Religions 2024, 15(1), 40; https://doi.org/10.3390/rel15010040 - 26 Dec 2023
Viewed by 1411
Abstract
This work carries out a detailed analysis of the context and the reasons that led the illustrators of the Beatus manuscripts to select and represent the two percussion instruments that appear in the illustration of Visio III of the Commentary on the Book [...] Read more.
This work carries out a detailed analysis of the context and the reasons that led the illustrators of the Beatus manuscripts to select and represent the two percussion instruments that appear in the illustration of Visio III of the Commentary on the Book of Daniel by Jerome transmitted in some manuscripts since the number of percussion instruments drawn and their typology do not correspond to what can be read in Jerome’s text, in the biblical text, and in the existing bibliography on the subject. This fact cannot be explained solely on the basis of the preceding pictorial tradition or the organological reality of the time, as the absence of sources does not allow for this. However, the literary sources of that period may have influenced the illustrators of this scene to draw these two percussion instruments. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
9 pages, 265 KiB  
Article
Is a Theological Synthesis Still Possible? The Paradigm of Objective Mariology
by Sławomir Jerzy Kunka
Religions 2023, 14(7), 831; https://doi.org/10.3390/rel14070831 - 25 Jun 2023
Viewed by 1394
Abstract
As a “doctrinal synthesis of the Christian faith” (St. John Paul II), the dogma of the Immaculate Conception of the Mother of God could serve as a focal point that brings together various theological concepts and approaches pertaining to salvation history. For that [...] Read more.
As a “doctrinal synthesis of the Christian faith” (St. John Paul II), the dogma of the Immaculate Conception of the Mother of God could serve as a focal point that brings together various theological concepts and approaches pertaining to salvation history. For that to happen, however, it is necessary to delve into and discover the richness of Mariology. Often regarded as a secondary discipline, as a context for other disciplines or even as a source of difficulties in ecumenical dialogue, Mariology nowadays needs a revival of its own. The call for constructing an “objective Mariology” presumes that the autonomy of theology as an academic discipline will be preserved and that theological reflection on the Virgin Mary will be objectivized in terms of both form and content. To meet these demands, one must strive to respect the supernatural purpose and sources of theology as such, and strengthen and develop biblical Mariology as well as the reflection of the Church Fathers. Furthermore, there is a need to draw from the rich legacy of the Franciscan school when reflecting on the unity of God’s plan of creation and Redemption in His eternal reasons. Finally, one must not accept a departure from the “hermeneutic of continuity” in the Catholic doctrine on the Most Blessed Virgin Mary, Mother of God, Immaculate and Assumed. The article sets out to describe the essence of the above assumptions and proposes specific conditions that would foster the development of an “objective Mariology”. In that respect, it is important to establish the First Person of the Holy Trinity as the starting point for any reflection on the plan of salvation—of which the Immaculate Conception is the ultimate origin and ultimate goal. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
54 pages, 7786 KiB  
Article
Regina Coeli—Doctrine and Iconography of the Virgin Mary’s Heavenly Royalty
by José María Salvador-González
Religions 2023, 14(6), 815; https://doi.org/10.3390/rel14060815 - 20 Jun 2023
Viewed by 4649
Abstract
This article aims to highlight the privileged status granted by Christianity to the Virgin Mary when considering her the Queen of Heaven. From the very early centuries of our era, this sublime title was assigned to the Virgin Mary, for her condition of [...] Read more.
This article aims to highlight the privileged status granted by Christianity to the Virgin Mary when considering her the Queen of Heaven. From the very early centuries of our era, this sublime title was assigned to the Virgin Mary, for her condition of Mother of God, by an increasing number of Church Fathers and theologians. Later, it was expounded by an uncountable number of medieval liturgical hymns. Finally, from the 12th century onwards, these textual proclamations were shaped in sculptures and paintings according to various iconographic types. The author will proceed by first analyzing a large corpus of texts by many Church Fathers, theologians, and hymnographers. Then, he will consider twenty sculptures and paintings which reflect the heavenly royalty of Mary according to five iconographic types. Full article
(This article belongs to the Special Issue Ideas and Images Serving Christianity: Words Illustrated by Forms and Forms Explained by Words)
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