Religion has always been a fundamental force for constructing identity, from antiquity to the contemporary world. The transformation of ancient cults into faith systems, which we recognise now as major world religions, took place in the first millennium AD, in the period we call 'Late Antiquity'. Our argument is that the creative impetus for both the emergence, and much of the visual distinctiveness of the world religions came in contexts of cultural encounter. Bridging the traditional divide between classical, Asian, Islamic and Western history, this exhibition and its accompanying catalogue highlights religious and artistic creativity at points of contact and cultural borders between late antique civilisations. This catalogue features the creation of specific visual languages that belong to four major world religions: Christianity, Judaism, Buddhism and Islam. The imagery still used by these belief systems today is evidence for the development of distinct religious identities in Late Antiquity. Emblematic visual forms like the figure of Buddha and Christ, or Islamic aniconism, only evolved in dialogue with a variety of coexisting visualisations of the sacred.0As late antique believers appropriated some competing models and rejected others, they created compelling and long-lived representations of faith, but also revealed their indebtedness to a multitude of contemporaneous religious ideas and images. 00Exhibition: Ashmolean Museum, Oxford, UK (19.10.2017-18.02.2018).

Can we re-imagine divine power as deeply related to the changing world? Can we re-imagine the creation of the world as an ongoing process of co-creation in which every individual from particles of atoms to human beings plays a part? Can we re-imagine Goddess/God as the most relational of all relational beings? Can we re-imagine the world as the body of Goddess/God? If we can, then we can understand the deeper meaning of female images of divine power, including Goddess, God-She, Sophia, and Shekhina. Many traditional understandings of divine power begin with thinly disguised rejections of the female body and connection to the natural world. Women theologians from Jewish, Christian, Goddess, and other traditions are re-imagining divine and human power as embodied, embedded in a changing world, and deeply related to all beings in the web of life. Drawing on the work of process philosopher Charles Hartshorne - whose insights deserve a wider hearing - Carol P. Christ offers intellectual foundations for deeply held feelings about the meanings of female images of divine power. Her gift is the ability to make complex ideas seem simple and radically new ideas seem familiar. This book is addressed to everyone who has ever wondered about the implications of re-imagining God as female.

This groundbreaking volume brings together scholars of the art and archaeology of late antiquity (c. 200−1000), across cultures and regions reaching from India to Iberia, to discuss how objects can inform our understanding of religions. During this period major transformations are visible in the production of religious art and in the relationships between people and objects in religious contexts across the ancient world. These shifts in behavior and formalizing of iconographies are visible in art associated with numerous religious traditions including, but not limited to, Buddhism, Christianity, Hinduism, Islam, Judaism, Zoroastrianism, religions of the Roman Empire, and paganism in northern Europe. Studies of these religions and their material culture, however, have been shaped by Eurocentric and post-Reformation Christian frameworks that prioritized Scripture and minimized the capacity of images and objects to hold religious content. Despite recent steps to incorporate objects, much academic discourse, especially in comparative religion, remains stubbornly textual. This volume therefore seeks to explore the ramifications of placing objects first and foremost in the comparative study of religions in late antiquity, and to consider the potential for interdisciplinary conversation to reinvigorate the field.

Garrett Green examines the point at which divine revelation and human experience meet, where the priority of grace is acknowledged while allowing its dynamics to be described in analytical and comparative terms as a religious phenomenon.

Baugh traces the development of the Jesus-film and through critical film and theological analysis show us the limitations of this genre. Baugh analyzes several important and often prize-winning films showing how each film-maker has created a valid and often complex and challenging metaphor of the Christ-event. He questions many of the traditional approaches to religious film, and offers a new approach and new criteria for the appreciation and judgment of these films.

An ever-growing number of Christians are becoming more and more uncomfortable with the tenets of the church, the stories of the Bible, and the church’s worldview. Statistics show that these feelings easily escalate into a crisis of faith, and for now their predicament is being resolved by leaving the church. This book will certainly help dealing with the crisis by showing that the language of faith is built by a web of metaphors taken from the Ancient Near East. We do not need to take biblical language literally, but as parables for human values in need to be assessed critically.

"What makes us open to mystery, to glimpses of the Transcendent in our daily lives? The power of the imagination, according to Sandra Levy - a power that has been seriously depleted in today's postmodern culture. To address and redress this deficit, Levy explores how the imagination expresses itself - through ritual, music, poetry, art, story - and focuses on specific practices that can exercise and enrich our spiritual capacity, thus opening us up to divine encounter. Imagination and the Journey of Faith will speak to all readers, whether religious believers or not, who wish to strengthen and deepen the imaginative power of their spiritual lives."--BOOK JACKET.