Search Results (19)

The Diamond Sutra (Vajracchedikā-Prajñāpāramitā-Sūtra) translated by the Sui Dynasty monk Dharmagupta is the fourth Chinese rendition of the Diamond Sutra. Characterized by unprecedented linguistic opacity and syntactic complexity within the history of Buddhist textual transmission, this translation’s distinctive features have attracted significant scholarly attention. This study synthesizes existing academic perspectives and employs Sanskrit–Chinese textual criticism and comparative analysis of parallel translations to conduct a granular examination of Dharmagupta’s retranslation. Our findings reveal that this text fundamentally deviates from conventional sutras designed for religious dissemination or liturgical recitation. Its defining traits, including morphological calquing of Sanskrit structures, simplified pronominal systems, and etymologically prioritized equivalence, collectively reflect a pedagogical focus characteristic of language instructional texts. Dharmagupta’s approach epitomizes a translation-as-pedagogy paradigm, with the text’s deviations from conventional norms resulting from the interplay of religious development, historical context, and translator agency. We argue that the Diamond Sutra retranslation constitutes a radical experimental paradigm in translation history, warranting re-evaluation of its significance within the broader trajectory of Buddhist textual practice. Full article

The Church of Christ is unity in diversity. Around the great centers of diffusion, the rites have been gradually defined as “the liturgical, theological, spiritual and disciplinary patrimony, culture and circumstances of the history of a distinct people, by which its own manner of living the faith is manifested” (Code of Canons of the Eastern Churches can. 28 § 1). At the same time, the necessity of the existence of the sacred ministry for the celebration of the Eucharist and the Sacraments is the basis for the establishment of the hierarchy of bishoprics that are formed ontogenetically and diachronically around the primary diffusion center, recognized as the Mother Church or, starting from the IVth–Vth centuries, as the Patriarchates. The tensions between dissident factions culminated in the Ecclesiastical Schism of 1054, which separated Eastern Christianity from the Roman Church. The restoration of the unity of the Constantinopolitan Churches of Central and Eastern Europe began with the Union of Brest–Litovsk (1595–1596), which generated a process of gradual entry of the territories of the Eastern Churches into unity, in 1700 reaching Transylvania. The Greek Catholic Churches fought a pioneering struggle in asserting their own traditions in order to restore the unity of the Church. The Eastern churches that re-entered the unity of the Catholic Church faced a change of ecclesiological paradigm, being in a permanent struggle to preserve their own specificity and to affirm the unity. The signatories of the Union Acts rejected “the Uniatism” from the beginning, a fact accepted today within the theological dialogue between the Catholic Church and the Orthodox Churches, the canonical evolution and the treatises of Greek–Catholic theology being the result of a process of experimentation “from within” of unity and catholicity in the context of the modern and contemporary era. The United Churches have paved the way for the restoration of unity between East and West, being obligated to grasp different forms of canonical manifestation of unity in the absence of a Patriarchate in communion with the Church of Rome, during which they offer a reflection that fully grows through a theology of restoring the unity of the Church, benefiting today from the ecclesiological paradigm shift of Vatican II and by the conceptual tools provided by the traditions and the Code of Canons of the Eastern Churches. Full article

This article explores the phenomenology of time and eschatology in the thought of Jean-Yves Lacoste, including his recent book on the philosophy of history. Lacoste’s idea of “the hidden present” is examined within the context of his broader theological and philosophical framework, with a particular focus on the way it addresses the intersection of temporality and eternity. Human temporality is characterized by finitude and death, which are interpreted both philosophically—under the influence of Heidegger’s philosophy—and theologically. Using Husserlian and Heideggerian concepts, Lacoste proposes a theologically inspired conceptual network: phenomenological reduction versus theological reduction, world versus creation, death versus resurrection, care (Sorge) versus eschatological restlessness, and time versus eschaton. All of these describe the liturgical experience of man before God and the possibility of an eternity which, from the point of view of the world and of our experience in the world, can only take on the ever-provisional figure of anticipation. The present article argues for the existence of a theological paradox of eschatology in the writings of the French phenomenologist: even if eschatology is only anticipated, the liturgical man, situated before God (coram Deo), experiences it in an incomplete and apophatic manner. Full article

In recent years, there has been a growing interest in analyzing the manufacturing techniques of Byzantine church doors in laboratory settings. However, the connection between the iconography and significance of the décor of church doors and their liturgical performativity, as well as their parallels with iconostases in Byzantium, remained a relatively underexplored area of study. This article seeks to delve deeper into these intersections. By focusing on the relationship between the iconography of church doors in Middle to Late Byzantium and their connection to the sacred space and liturgical practices, I aim to shed light on how these artworks played a crucial role in the sacred experience of the Byzantines. This exploration will not highlight only the aesthetic evolution of church door artwork but also emphasize the communal and embodied nature of the religious experience during the Byzantine era. Their intricate designs were not merely decorative elements but served as portals to the divine, enriching the salvation journey of worshippers as they crossed the threshold into the liturgical spaces. By conducting an examination of the development of door iconography and their symbolism throughout the empire’s history, the transformation of narrative depictions from the Middle Byzantine era to the Palaiologan period, culminating in a convergence of symbolic meanings within the sacred space of the church, is delineated. This transformation is further exemplified by a sculpted church door from the Principality of Wallachia. By bridging the gap between art history and religious studies, this article aims to rekindle interest in the profound symbolism and significance of Byzantine church doors and their relation to sacred liturgical space, offering a broader perspective on an important aspect of Byzantine heritage. Full article

The period between 1080 and 1160 saw an explosion in monastic construction throughout Western Europe. The textual sources from this period document this building boom and explicitly tie construction and refurbishment to monastic reform and the creation of spaces for spiritual renewal. Newly built or remodeled monasteries and churches were richly decorated with wall paintings and monumental sculpture and inscriptions. A new form of sculpture emerged during this period of increased construction—the historiated capital. Despite their small size, capitals in the eleventh and twelfth centuries were frequently decorated with figures of humans or animals, and these images usually referred to a narrative, with lapidary inscriptions serving as commentary to the images. This article will compare two capitals depicting the Sacrifice of Isaac to consider how location and movement around the capitals direct the interpretation and understanding of the narrative scenes and accompanying epigraphy. One capital is in the narthex of Saint-Seurin at Bordeaux, while the other is in the choir of Sainte-Foy at Conques. My analysis involves making connections between the location of the capital within the architectural space and its relationship to other sculpted imagery, monastic interpretations of their spaces, and the liturgical events that took place within those spaces. Full article

In the debate over the theory and practice of the Spanish empire at the beginning of the sixteenth century, political, religious, and legal discourses differentiated conquered peoples and recent converts to Christianity from so-called “old Christians”, thereby creating distinct categories of Spanish subjects. In Spain itself, cultural markers like language, dress, and diet became the foundations of fiscal and legal differences, while normative codes were promulgated and negotiated across a range of documents, e.g., legal instruments, civic and ecclesiastical records, university debates, and juridical theory. Concomitant with this process, a set of Christian catechisms was produced in Spain, both before and after the promulgation of Tridentine reforms, that were directed especially at the converted morisco populations in Granada and Valencia. These catechisms were produced in Iberian Arabic and Romance languages and included instructions about how new converts from Islam should behave, as well as what they should believe in order to participate in liturgical activities and to be recognized as full members of the Christian community. This article examines the morisco catechisms produced in Spain between 1496 and 1566, as these documents are representative of a unique period in both the history of Latin Christianity and the burgeoning Spanish empire. Through the emergence of this corpus and against the backdrop of targeted legislation and new policies aimed at Arabic-speaking moriscos, first in Granada and later in Valencia, the ideological foundations constraining the morisco experience were forged. Full article

Apropos of Spanish or Languedocien elements manifest in the late 13th-century Durandus Pontifical, this study explores the relationship between high medieval ritual and identity formation. It introduces the notion of liturgical use, an inclusive term for the body of customs that determined the way ceremonies were performed by lasting communities with a sense of belonging together. The primary challenge of comparing uses lies in selecting and systematizing the relevant information and interpreting the results. The authors argue that this challenge can be met by reducing the evidence to textual items and positions that lend themselves to large-scale comparative analysis in both time and space. As the main methodological contribution, they introduce the principle of mapping and drawing historical and cultural conclusions from their patterns. By summarizing a decade of careful research into thousands of sources accomplished by the team of the Usuarium database, they present four historical layers of medieval liturgical history, termed formative periods, and outline convergent geographical areas that they call liturgical landscapes. Since data on a lower level rarely correspond to smaller contiguous areas, they interpret the phenomenon called artificial diversity through medieval concepts of regionality and cultural transfer, formulating some thought experiments to understand the ways in which a Europe of uses once functioned. Full article

The COVID-19 pandemic has paralyzed entire social levels. Organized religion is one of those levels, having suffered a lot due to the closing of churches and the automatic physical cessation of religious services. Both the weekly practitioners and those attending church minimally (say at Easter and Christmas) felt the shock of the closing of the churches. As such, the online environment was the saving option during the pandemic. However, not all churches embraced the move of liturgical services to online from the start, and at the same time, not all churches had a rich history of using digital technologies or the Internet for religious purposes. In this context, I investigate how religious communities succeeded in dealing with the imposed governmental regulations on social distance. I follow the specific religious rituals that have suffered the most by moving liturgy online, rituals such as baptism, Eucharist, burial, etc. Because different Christian churches understand rituals and liturgical practices in different ways, I focus specifically on a succinct comparison between the Romanian Orthodox Church and the neo-Protestant environment, especially the Seventh-day Adventist Church. In addition, I briefly extend the comparison to Adventist communities from the diaspora—especially those from London, the United Kingdom. Full article

In the recent study of Contemporary Praise and Worship (CPW), many studies have focused on musical repertory, including its text, music, and performance, as the foundational text(s) for theoretical analysis. In particular, scholars have relied on lists of the most popular songs that have been reported to Christian Copyright Licensing International (CCLI). This essay points out several critical weaknesses in the current overreliance on this methodology and instead contends for two underutilized methodologies—liturgical ethnography and liturgical history—that need to be developed in the scholarship. The essay argues that such a cultivation of methodology will enable the burgeoning scholarship on CPW to gain richer insight into the range of theological meaning expressed in CPW contexts. Full article

The poets in question belong to different generations, as well as different cultural, ethnic, and even religious backgrounds. Ethnically Mordvinian Zavyalov (b. 1957), who is also a noted scholar and translator from Ancient Greek and Latin, and ethnically Russian Chernykh (b. 1969), who is trained as a librarian and grew up among hippies, are both Eastern Orthodox Christians. Jaan Kaplinski (1941–2021), half Polish and half Estonian, was born and died a Roman Catholic, yet for a considerable part of his life, until his gradual switch from the Estonian language to Russian, considered himself a “pagan.” The article focuses on these poets’ different forms of engagement with the Holy Scripture and practices of the Christian Church. Zavyalov’s groundbreaking experimental poem Advent: Leningrad, 1941 (Рождественский пост, 2009) intertwines fragments of liturgical services and recommendations for fasting around the time of Christmas with the voices of the besieged city, dying from famine during WW II. His poem’s cathartic effect is remarkable: the death is negated by Christ’s birth and history starts anew. His most recent poem I Saw Jesus: And He Was Christ (Я видел Иисуса: и Он был Христос, 2022), which will be discussed in this article, engages with the Holy Scripture and the practices of the Russian Orthodox church in an even more direct way. Chernykh’s poetry of recent decades deals with the relevance of the Bible for a practicing Christian in a largely non-Christian world. Furthermore, Kaplinski’s posthumous Russian collection Winged Fingerprint (Отпечаток крылатого пальца), which is to be published in 2022, can be described as a dialog with the Biblical God and death “after the end of everything.” The most prominent voice in Estonian letters, Kaplinski transforms his later lyrical poetry written in Russian into a spirited prayer for the salvation of everything seemingly “insignificant”, left out of “larger history”. Full article

This article deals with the description of the Liturgy of the Presanctified Gifts in the Byzantine liturgical book known as the Typikon of Mâr Saba. This description is well preserved from its oldest known Greek testimonies until at least the 13th century. It is notable that this liturgical celebration is the only one depicted in the book that involves the Eucharist. In the article, some partially unedited fragments of the Greek text of three testimonies are presented and analysed, and some reflections and questions are collected at the end in an attempt to shed light on the historical development of this text, which is crucial to our understanding of the history of Byzantine liturgy. Full article

From the early studies of Tancred Borenius (1885–1948) to the present, the iconography of the archbishop Thomas Becket has drawn attention among scholars. Numerous studies have been published on the representation of Becket’s martyrdom in mural painting, sculpture, and reliquary caskets. Despite this attention, many questions concerning the selection of episodes embroidered in liturgical vestments and textiles, as well as the commissioning of these objects, remain unresolved. How devotion to Becket spread globally in the Western world has not yet been satisfactorily determined, and there may have been a number of different factors and transmitters. Thus, medieval embroidery could also have been a driving force behind the development and the dissemination of Becket’s cult—notably in the ecclesiastical and, more specifically, episcopal milieu across the Latin Church. This type of production quickly reached ecclesiastical patrons, who were interested in the opportunity of wearing a headpiece or vestments (copes and chasubles) that would serve as reminders of the Archbishop of Canterbury. This was the perfect opportunity for a papal curia that, since Alexander III, had tasked itself with promoting Thomas Becket’s legacy, integrating the saint within Christian martyrial history and within a history of a militant Church. Full article

This article explores the sculptural programme of the west portal of Saint-Martin-de-Besse, which places Penance and the Eucharist sacraments at the centre of its polysemic narratives, forming chiastic sequences. Concerned with the fall of humankind and the history of redemption, the portal of Besse presents a series of enigmatic figures from the Old and New Testaments, along with an early Christian figure, Saint Eustace. In this article, I first present a brief historical overview of the church and its surroundings and then proceed with an iconographical survey of its portal. I argue that the series of sculpted narrative vignettes forming the west façade of Besse are polysemic as they carry multiple meanings. Focusing on salvation through (re)conversion, where the liturgical sacraments of Penance and the Eucharist are fundamental, these polysemic narratives form and perform four distinct chiasmus interchanges involving the Garden of Eden, where time and space are in constant dialogue. Full article

In response to U.S. government restrictions imposed as part of a nationwide response to the COVID-19 pandemic, charismatic worship leader Sean Feucht began a series of worship concerts. Feucht positioned these protests as expressions of Christian religious freedom in opposition to mandated church closings and a perceived double-standard regarding the large gatherings of protesters over police violence against Black and Brown persons. Government restrictions challenged the sine qua non liturgical act of encounter with God for evangelicals, Pentecostals, and Charismatics: congregational singing in Praise and Worship. However, as Feucht’s itinerant worship concerts traversed urban spaces across the U.S. to protest these restrictions, the events gained a double valence. Feucht and event attendees sought to channel God’s power through musical worship to overturn government mandates and, along the way, they invoked longstanding social and racial prejudices toward urban spaces. In this essay, I argue that Feucht’s events reveal complex theological motivations that weave together liturgical-theological, social, and political concerns. Deciphering this complex tapestry requires a review of both the history of evangelical engagement with urban spaces and the theological history of Praise and Worship. Together, these two sets of historical resources generate a useful frame for considering how Feucht, as a charismatic musical worship leader, attempts to wield spiritual power through musical praise to change political situations and the social conditions. Full article

The Byzantine mission of saint brothers Cyril and Methodius had a major impact on the spiritual history of Great Moravia. In the centuries that followed, their works paved the way for the political and historical development of the Slavic nations, mainly in South-East and East Europe. The mission, which reached Great Moravia in 863, had several dimensions. The most important were evangelism and the cultural and civilizational dimensions. Translations of the Gospel and liturgical texts into Old Church Slavonic intensified the religious life of our ancestors and laid the foundations of literature and culture for almost the entire Slavic world. From this point of view, research should be focused on the role and reflection of this historical and cultural heritage in the ecclesiastical and spiritual, national and cultural life of the Slavic nations. The aim of this article is to assess the significance of Christian and Byzantine cultural values in terms of the collective Slavic identity. The Cyrillo-Methodian idea manifests itself in the history of the Slavic world as a complex but solid foundation, capable of renewing the sleeping or inhibited energy and values in the areas of faith, culture, literature, arts, education, upbringing, as well as national consciousness. Full article