By Heidi J. Hornik, Mikeal C. Parsons
Charting the theological and cultural efficiency of Acts around the timespan of Christian background, this paintings of profound scholarship finds the total quantity of the recent testomony book’s spiritual, inventive, literary, and political influence.
- Reveals the impact of Acts at key turning issues within the background of the Christian church
- Traces the wealthy and sundry inventive and cultural history rooted in Acts, from song to literature
- Analyzes the political value of the e-book as a touchstone within the church’s exterior relations
- Provides particular statement at the exegesis of Acts down the centuries
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Extra resources for Acts of the Apostles Through the Centuries
Through the disciple’s example of contemplative prayer, the viewer of the ivory is encouraged “to experience the events surrounding the Resurrection first‐hand” (Hansen 2011). Christ climbs up a hill rather than being levitated to Heaven (for a more “ephemeral” ascension, see William Blake’s Ascension, 1803–05, Fitzwilliam Museum, Cambridge; Butlin 1981, vol. 2, plate 574). The artist may have been aware of extra‐biblical traditions such as the apocryphal Gospel of Peter that stated Christ ascended directly from the tomb (Kessler 1979, 110).
What this view fails to account for is why it is Luke and not one of the other Evangelists around whom this legend grows. Two possibilities c ommend themselves. First, note that all the paintings attributed to Luke are paintings of Mary and, in fact, countless Byzantine images of the Madonna have been attributed to Luke. Augustine, fourth–fifth century Bishop of Hippo, had commented that no one knew what the Virgin looked like (Trin. 7), but at some point there arose the need is to have a “vera ikon” (a true image) of the Madonna.
Later a painting board was substituted for the codex, transforming the figure into the painter saint. What this view fails to account for is why it is Luke and not one of the other Evangelists around whom this legend grows. Two possibilities c ommend themselves. First, note that all the paintings attributed to Luke are paintings of Mary and, in fact, countless Byzantine images of the Madonna have been attributed to Luke. Augustine, fourth–fifth century Bishop of Hippo, had commented that no one knew what the Virgin looked like (Trin.