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A Historical-Theological Study of the Jesuit Mission to China, 1552–1773
Author:
This book integrates history, theology, and art and analyzes the Jesuits’ cross-cultural mission in late imperial China. Readers will find a rich collection of resources from historical sites, museums, manuscripts, and archival materials, including previous unpublished works of art. The production and circulation of art from different historical periods and categories show the artistic, theological, and missional values of Christian art. It highlights European Jesuits, Asian Christians, transnationalism, and gives voice to Chinese Christian women and their patronage of art in the seventeenth century. It offers a rare systematic study of the relation between art and mission history.
A Historical-Theological Study of the Jesuit Mission to China, 1552–1773
Author:
This book integrates history, theology, and art and analyzes the Jesuits’ cross-cultural mission in late imperial China. Readers will find a rich collection of resources from historical sites, museums, manuscripts, and archival materials, including previous unpublished works of art. The production and circulation of art from different historical periods and categories show the artistic, theological, and missional values of Christian art. It highlights European Jesuits, Asian Christians, transnationalism, and gives voice to Chinese Christian women and their patronage of art in the seventeenth century. It offers a rare systematic study of the relation between art and mission history.
Volume Editor:
With its reconversion to a mosque in August 2020, the former monastic church of Saint Saviour in Chora entered yet another phase of its long history. The present book examines the Chora/Kariye Camii site from a transcultural perspective, tracing its continuous transformations in form and function from Late Antiquity to the present day. Whereas previous literature has almost exclusively placed emphasis on the Byzantine phase of the building’s history, including the status of its mosaics and paintings as major works of Palaiologan culture, this study is the first to investigate the shifting meanings with which the Chora/Kariye Camii site has been invested over time and across uninterrupted alterations, interventions, and transformations. Bringing together contributions from archaeologists, art historians, philologists, anthroplogists and historians, the volume provides a new framework for understanding not only this building but, more generally, edifices that have undergone interventions and transformations within multicultural societies.
Volume Editor:
With its reconversion to a mosque in August 2020, the former monastic church of Saint Saviour in Chora entered yet another phase of its long history. The present book examines the Chora/Kariye Camii site from a transcultural perspective, tracing its continuous transformations in form and function from Late Antiquity to the present day. Whereas previous literature has almost exclusively placed emphasis on the Byzantine phase of the building’s history, including the status of its mosaics and paintings as major works of Palaiologan culture, this study is the first to investigate the shifting meanings with which the Chora/Kariye Camii site has been invested over time and across uninterrupted alterations, interventions, and transformations. Bringing together contributions from archaeologists, art historians, philologists, anthroplogists and historians, the volume provides a new framework for understanding not only this building but, more generally, edifices that have undergone interventions and transformations within multicultural societies.
Author:
Dalā’il al-Nubuwwa literature that is centered on narratives from the Prophet Muḥammad’s life has most commonly been viewed, or even dismissed, as the product of popular veneration. Building extensive research on biographical and bibliographical sources, this book demonstrates that Dalā’il al-Nubuwwa literature emerged among the circles of early ḥadīth scholars of the late 2nd/8th century. By analyzing extant texts of Dalā’il al-Nubuwwa regarding their sources, structures, methodological approaches, and selection of contents, it showcases that these works were part of epistemological discourses on prophecy that transcended religious boundaries as well as the dividing lines between various Muslim scholarly disciplines.
Author:
Dalā’il al-Nubuwwa literature that is centered on narratives from the Prophet Muḥammad’s life has most commonly been viewed, or even dismissed, as the product of popular veneration. Building extensive research on biographical and bibliographical sources, this book demonstrates that Dalā’il al-Nubuwwa literature emerged among the circles of early ḥadīth scholars of the late 2nd/8th century. By analyzing extant texts of Dalā’il al-Nubuwwa regarding their sources, structures, methodological approaches, and selection of contents, it showcases that these works were part of epistemological discourses on prophecy that transcended religious boundaries as well as the dividing lines between various Muslim scholarly disciplines.
The book series Studies in Religion and the Arts promotes the development of discourses for exploring the religious dimensions of the verbal, visual and performing arts. The goal of the series is to form an international and multi-disciplinary forum for the scholarly discussion on the expression of religious sentiments in art.
The series has published an average of one volume per year over the last 5 years.
The series has published an average of one volume per year over the last 5 years.
Author:
Abstract
The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on the constitutive kernels of the Abrahamic religion of Islam (image and word), this paper will locate and define its formal manifestations in cinema; in other words, the way in which the conception of image and word at Islam marks film form. This endeavor will be sustained by calling upon some distinctive film cases of the so-called New Iranian Cinema. In particular, Offside (2006) and This Is Not a Film (2011) by Jafar Panahi, and Close-up (1990) by Abbas Kiarostami, as well as other films, will be utilized for analysis in order to delineate the qualities of the claimed religious film form in question. These films are selected as they foreground and thus play out the dialectic of image and word, their absence and their presence.
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