This session will focus on use of images and material objects in pedagogy. The artwork’s ability both to engage students and create protected space for complex conversations makes the viewing of art pedagogically valuable. Artworks can ease students into understanding of subtle theological ideas, and can also create avenues into discussion of intimate topics like gender, race, and trauma. For each paper, our contributors have picked a crafted object or artwork and will aim to show the value of these pieces in teaching. The artworks include respectively from the middle ages, a painted reliquary from the early Byzantine period, manuscript illuminations from Nicolas of Lyra’s biblical commentary Postilla literalis, and from the contemporary period a painting by Kehinde Wiley, “Lamentation over the Dead Christ” and an icon by Vladislav Andreyev called the “Triumph of Orthodoxy.” The session is envisioned as a way of sharing both resources and pedagogical ideas.
A painted reliquary from late antique Palestine, now preserved in the Vatican Museums, is one of the earliest material testimonies of Christian pilgrimage in the Holy Land. Complementing the evidence from the first extant pilgrimage accounts in important ways, the Vatican reliquary helps to shed further light on the experience of Holy Land pilgrims before the Arab conquest. In unique ways, the painted box illuminates the idea of pilgrimage as an act of witnessing the reality and continuing validity of sacred events described in the Bible. The artifact can be fruitfully used in teaching as a key source to provide insight into typical phenomena characteristic of Christian religious devotion and pilgrimage. It invites discussion of a variety of themes, e.g., spiritual religion and sacred matter; art and the imagination; vision and memory; authenticity; art as a trigger of emotions; sacred place/space; concepts of time; and virtual pilgrimage.
In his fourteenth-century biblical commentary, the Postilla litteralis (Literal Commentary), Nicholas of Lyra, a Franciscan scholar at the University of Paris, compared Jewish and Christian commentaries on the Old Testament and designed visual images to illustrate these comparisons. A premodern bestseller, Nicholas of Lyra’s illustrated commentary was widely copied throughout Europe for three centuries. Copies of Nicholas’s illustrations from fourteenth and fifteenth-century manuscript illuminations serve as powerful teaching devices. First, these illustrations teach students about late medieval Christian interest in Jewish biblical scholarship. Copies of Nicholas’s illustrations display a reliance on rabbinic commentary regarding literal meanings of scripture, yet express Christological and typological principles. Second, by comparing Nicholas of Lyra’s illustrations with Hebrew manuscript illuminations, I help students to see differences in the way late medieval Jewish and Christian art represents the divine. To enable the sharing of pedagogical resources, my digital images are sourced from open-access internet databases.
This paper will explore the pedagogical potential of *Lamentation Over the Dead Christ* (2008) by Kehinde Wiley as a catalyst for cultivating meaningful dialogue around race and religion in the mainline American church. Wiley’s work is provocative and complex, a powerful teaching tool. It will be used to anchor a “triangle of aesthetic pedagogy” that can effectively illuminate deep learning. Rooted in aesthetic experience, the triangle coalesces around Maxine Greene’s notion that works of art have the ability to evoke a “consciousness of possibility” (*Variations on a Blue Guitar*, 2001, 117). Wiley’s piece motivates learners to challenge their conception of the imago dei and by doing so, strengthens their imagination and capacity to see race and religion with new vision. This vision, unencumbered by hegemony and free to see clearly, is a desperately needed lesson in the mainline American church; *Lamentation Over the Dead Christ* is a remarkably effective teacher.
In 2013, Master Iconographer Vladislav Andreyev of the Prosopon School of Iconology added a new image to the iconographic canon, an icon of the “Triumph of Orthodoxy”. Though the Feast of Orthodoxy has been celebrated on the first Sunday of Lent since 843, there is no festal icon associated with it. Typically, an image of the Icon Not Made By Hands, the Mandylion of Edessa, is venerated. Andreyev’s icon is a complex image that combines, remixes, and elaborates various previous iconic themes in a way that is both incredibly innovative, yet completely faithful to the tradition. I use this image in my Visual Theologies class because of the ways in which it opens onto multiple horizons of conversation, including the theological nature of images, Christology, questions of creativity and tradition, spirituality and worship of the Eastern Orthodox Church, and the often-fraught relationship between Church and State.