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The importance of Christian symbols
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Proper Church Decor
Proper church décor is necessary for proper worship. Anyone who witnesses an Orthodox liturgy for the first time will be struck by its appeal to the senses. The central actions of the Liturgy are the consecration and distribution of the bread and wine that make up the Lord's Body and Blood, but the images everywhere around are not mere embellishments. Holy icons are an essential aspect of the whole liturgical event. They enhance the beauty of a church. They instruct us in matters pertaining to the Christian faith. They remind us of this faith. They lift us up to the models that they symbolize. They provoke us to imitate the virtues of the holy figures depicted on them. They help to transform and bless us.
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The church is a house of God, which means that it should be decorated as beautiful as possible. The interior should be especially striking because it is where faithful worshipers gather. The pleasure evoked from the icons must be a holy and spiritual experience. Icons serve to instruct the faithful. The workings of the Lord should be represented through icons because all people are not literate. Sometimes icons are more vivid than written accounts. Icons can present many things simultaneously and concisely. It could take a long period of time to describe the same event in words. We often forget things that are extremely important to us. We may know many things about the Christian faith, but we often forget them because we become preoccupied with everyday worldly matters. Icons remind and awaken us to our Christian faith. We also remember pictures better than we do words. Icons lift us up to the models that they represent. They lift us up to a higher level of thought and consciousness. The people shown in the icons were at a higher level than we are in our everyday lives. When we see their icons, we recall their superior character and deeds. In doing this, we think pure thoughts and experience higher feelings. It is designed to lead us from the physical to the spiritual realm (Whiteford …show more content…
It is a means of worshipping God and venerating His saints. It is symbolic, leading us from the material to the spiritual. When a person enters the Orthodox Christian Church, they light a candle and put it on the icon-stand on which is set the icon representing the sacred person, persons or event specially celebrated by the particular church. Then they bow before the icon, make a sign of the cross, kiss the icon, and say a brief prayer. This is not an act of worshipping the icon. Worship is only given to God. It is an act of honorable veneration (Copple
Another example of Christian iconography is The Transfiguration. It is located in the Church of Saint Catherine’s monaster...
Another key factor in the overall story represented has faded, which is one of the lamps or incense holders beneath Christ. The positions of the stories in the apse show the importance of the figures represented in the images. Christ's placement at the center of the apse holding a book with his left hand provides a direct relationship to the Bible. His right hand held up in blessing illustrates his divine power towards the people, who receive the sacrament on the altar below him. Christ is also surrounded by stars, which represent the heavens and his own divine nature....
The symbols and images reinforce each other because they create a dark image of the future in the minds of the audience, and also present familiar religious signs like fire in Hell. What makes the imagery so effective in the essay is that it resonates with the audience because of the religious connections that Edwards
The icon also fulfills a second task—that of educating worshipers of church traditions and of the lives of the saints. In an easy to understand visual language this icon clearly depicts a holy figure being killed and simultaneously rewarded, presumably for his sacrifice. The artist even went so far as to label the most important character in the story, Saint Demetrios, for the viewer.
...e of the meanings to be determined by the reader, but clearly conveys the meaning behind others. Such variety provides something or someone for any reader to relate to. Symbolism, hidden or obvious, serves to connect the reader with the characters of “The Things They Carried” and follow their development with interest and ease. In many cases, symbols answer the question which the entire story is based upon, why the men carry the things they do.
What makes people or certain things Icons? A Icon is a person or thing regarded as a representative symbol of something. During the Black Arts Movement one of the questions brought up was if Black people should change their views as to who and what our Icons and Symbols were. In the book JuJu Magic Songs for the Black Nation which written by and but together by Askia Muhammad Abu Bakr El-Toure, he points out many different Black people that can be called Icons and Symbols for us. He follows the Black aesthetics of Larry Neal who points out that we as a community need Icons and Symbolism to help find ourselves.
In defense of idols, early Iconodules cited the Old Testament where God also instructs how to make three-dimensional representations of the Cherubim for the Ark of Covenant, Later, St John of Damascus argued that images of Christ do not depict the divine, but rather that of a concrete human person, Jesus (3).
The symbols aren’t just inanimate objects but characters also. For example; Piggy an overweight asthmatic kid who cannot see without his glasses, represents mental strength and physical weakness. With his keen mental strength Piggy tries to enforce a governmental system. “What’s better--- To have rules and agreeing or to hunt and kill?” (164) Piggy tries one last time to knock some sense into the unruly boy’s right before Roger murders him. Piggy is a rational boy who tries to think about the way that adults would handle this situation. Piggy is the outsider of the group, and many o...
That "Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above or in the earth beneath, nor of those things that are in the waters under the earth. Thou shalt not adore them, nor serve them" (Exodus 20:4-5 and Deuteronomy 5:9) might, at first glance, be seen as an absolute command or prohibition against worship of any kind of image (A. Fortescue, Veneration of Images, 1910, Volume VII). "For iconoclasts (image-breakers), every image could only be a portrait and a portrait of God was inconceivable in view of God's ineffable and unknowable qualities." Claim that icons were a sacred art was, iconoclasts argued, simply to clothe them in superstition and even heresy since they denied any presence of the person represented, the prototype, in his iconographic image. They could not see that the icon portrayed the visible of the invisible and the invisible in the visible (Evdokimov, 1972:193-194). Calvin, in arguing against the use of icons, said "the majesty of God is defiled by an absurd and indecorous fiction, when he who is incorporeal is assimilated to corporeal matter; he who is invisible to a visible image" (Institutes I.XI.2; Callihan, Credenda/Agenda, Vol. 6, No. 5). But God's command to Moses to build, according to the image shown to him on Mount Horeb, the tabernacle and all that it was to contain, including the cherubim cast in metal (Exodus 25:18; 26:1, 31), St. John of Damascus said, was an exception to the general rule, thus rendering the prohibition of images as not an absolute one" (Ouspensky, 1992:45-6). The prohibition of the image was to "forbid the chosen people to worship creatures in place of the Creator", and "to protect the spec...
One of the most striking features of a Byzantine style church is the extensive use of iconography, with images often covering most if not all of the walls inside the sanctuary. Upon entering this sacred space, we see the scriptures come to life through the imagery, colors, and events that are depicted. The icons speak to us in a theologically correct way and convey deep meaning about spiritual realities that are often beyond our comprehension. And while the cumulative effect of so many images is quite powerful, each individual icon offers us the same experience. A good example can be seen in the icon of the Annunciation.
Both religious festivals, Passover and Easter, have different approaches to representational art and iconography that is found in Western religions such as Judaism and Christianity. These art and icons are vital resources in portraying each religion apart from one another. Without these important elements, the diversity of different religions that make up the spectrum of the religious world would cease to exist and all appreciation for individuality would be lost.
We do tend to expect certain things when we enter a place of worship, or peruse an active ministry, and truthfully, when taking in Christian oriented art. There are a couple reoccurring emblems, symbols, well-worn themes, and subjects which have been deemed safe, coming under overuse, carrying the weight of a saltine in the impact it makes on people, including us. While intentions are almost always well meaning, these conventions appear to the secular as a genre of its own in culture and art, quite often ringing with an unsavory note of incompetence. That’s already an unpleasant attribution to a faith that has changed the world, having built the infrastructure of empathy that has survived ages and permeates the social development of our western culture. It speaks to a deeper issue within the Church itself, which is a woeful lack of inspiration.
When the religious art leaks out of the religious community and into the broader world of culture, it is one of the ways the meaning of the art can evolve. This is also an opportunity for the art to draw the world to religion. Moreover, artistic reinterpretation of sacred imagery can help keep religion honest. The church has always been enriched by the tension that comes with diversity in art. Art is communication and effective art communicates effectively to any group at any level.
However, the danger starts when the images cease to become a medium and become an object of worship (Masse 34). For instance, the crucifix was created to make meditation and prayer easier, but it is now deemed as superstitious and holy (Barclay 20). Being that, superstition itself is a form of idolatry, acknowledging other gods or spirits to have power in peoples’ lives (Schlessinger and Vogel 37). Images such as the crucifix or rosary beads that are made for worship, are in essence trying to make the invisible god visible (Massee 30). Yet, as it is stated in Mark 12:30, the Lord desires His people to instead love Him with all their heart, soul, mind, and strength (King James Version). God is a jealous God and does not desire to be seen, but to be worshipped in Spirit with faith and
As I was attending mass, I noticed, it was very organized. There was a lot of sitting and standing, where I found myself struggling to understand. I noticed that they read some passages from the bible and sang a lot of psalms and hymns. The only thing that was familiar to me was the Eucharist.