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Finding a face for the triune God: C...

Kari, Daven Michael.

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Finding a face for the triune God: Christian iconography in stained glass.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Finding a face for the triune God: Christian iconography in stained glass./
作者:	Kari, Daven Michael.
面頁冊數:	345 p.
附註:	Source: Dissertation Abstracts International, Volume: 52-06, Section: A, page: 2179.
Contained By:	Dissertation Abstracts International52-06A.
標題:	Religion, History of. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9133436

Finding a face for the triune God: Christian iconography in stained glass.
Kari, Daven Michael.

Finding a face for the triune God: Christian iconography in stained glass. - 345 p.

Source: Dissertation Abstracts International, Volume: 52-06, Section: A, page: 2179.

Thesis (Ph.D.)--The Southern Baptist Theological Seminary, 1991.

The purpose of this dissertation was to explore biblical and theological expressions of the Trinity as presented in the images of Christian iconography in stained glass windows. This study treated the geometric or abstract, theriomorphic and organic, and figural representations of God the Father, God the Son, and God the Holy Spirit. The key concern of this study was to describe the major trends in the way Christians have expressed through art their understanding of the Trinity in the images of representative stained glass windows from the ninth century to the present and to critique the ways these expressions of the holy reflect theologically appropriate choices.Subjects--Topical Terms:

1017471
Religion, History of.

Finding a face for the triune God: Christian iconography in stained glass.
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245 1 0 $a Finding a face for the triune God: Christian iconography in stained glass.
300 $a 345 p.
500 $a Source: Dissertation Abstracts International, Volume: 52-06, Section: A, page: 2179.
500 $a Chairperson: William L. Hendricks.
502 $a Thesis (Ph.D.)--The Southern Baptist Theological Seminary, 1991.
520 $a The purpose of this dissertation was to explore biblical and theological expressions of the Trinity as presented in the images of Christian iconography in stained glass windows. This study treated the geometric or abstract, theriomorphic and organic, and figural representations of God the Father, God the Son, and God the Holy Spirit. The key concern of this study was to describe the major trends in the way Christians have expressed through art their understanding of the Trinity in the images of representative stained glass windows from the ninth century to the present and to critique the ways these expressions of the holy reflect theologically appropriate choices.
520 $a Chapter one defined the artistic medium and explored the biblical tradition behind the concept of the Trinity and the use of images to represent God. This chapter concluded that the doctrine of the Trinity emerged after the New Testament era, although evidence for this teaching can be found retrospectively in both the Old Testament and the New Testament. Chapter two identified major errors and major orthodox teachings concerning the Trinity. The Niceno-Constantinopolitan Creed was treated as the first full statement of the orthodox doctrine of the Trinity.
520 $a Chapter three treated geometric, abstract, and nonorganic images for the Trinity and concluded that this form of symbolism is the safest but also the least articulate mode for representing the Trinity in stained glass windows. Chapter four explored theriomorphic and organic images for the Trinity and described how such symbols illustrate vestigia trinitatis. Chapter five examined figural images for the Trinity and noted how stained glass windows are primarily christological and follow trends in the secular culture.
520 $a Chapter six concluded the study with an evaluation of aesthetic and theological criteria which make windows depicting the Trinity succeed or fail. Windows expressing the three-in-oneness of God and building in a creative way on the tradition of symbolism used for the Trinity were found to be the most successful.
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