Here we have a phenomenon not without parallel in the history of other religions, as Lohmeyer notes — for example in Islam and in Mormonism — namely a shift from a first center to a second within the first generation of believers; and it is all the more striking that the evidence is preserved in Acts, whose whole interest and orientation centers in Jerusalem, not in Galilee, and
whose earliest traditions are almost exclusively those of the capital city.
Not exact matches
Touchstone provides a forum where Christians of various backgrounds — Protestant, Catholic, and Orthodox — can speak candidly with one another on the basis of a shared commitment to the Great
Tradition of Christian faith as revealed in the Holy Scriptures and set forth in the classic creeds of the
early church.The term «mere Christianity,» of course, was made famous by C. S. Lewis,
whose book of that title is among the most influential religious volumes of the past one hundred years.
In the
early modern period, political thinkers formulated a new conception of natural law,
whose distinctive character has defined a distinctively modern
tradition of thought about natural or human rights.
The existence of an old local
tradition and of families
whose ancestry seems ancient and indigenous, rather than of foreign immigrant trading stock, are factors which suggest the possibility of an
early evangelist in the country, but the dependence of all
traditions on the Edessene Church prevents us considering those factors conclusive proof that this
early evangelist was St. Thomas.
Additional highlights include Helen Frankenthaler's Belfry and February Turn (both 1979), which mimic the look and feel of Abstract Expressionism yet in truth represent a rupture with that
tradition through the use of a staining technique that seemingly minimizes the artist's role in the process; Frank Stella's Double Scramble (1978),
whose nested squares, color contrasts, and pulsing optical effects bridge the artist's
early minimalism and later illusionism; and Robert Rauschenberg's Golden Chalice (1989) which, insofar as it marries abstraction and representation and juxtaposes gestural brushwork and photographic media, affords a crucial link to late 20th - century abstraction.
Concurrently, 6 Artists / 6 Projects (February 10 — August 29, 2015) presents new works by some of today's leading contemporary artists in Israel,
whose practice resonates in counterpoint with the aesthetic
traditions that accompanied the opening of the Museum 50 years
earlier.
She delighted in nature and rural living and spent happy years in Italy, where she fell in love not only with the country, but also the
early Renaissance or Quattrocento
tradition, that long - overlooked period
whose champions include Piero della Francesca and Masaccio.
Grey Art Gallery Director Lynn Gumpert says, «In the
early 60s, when Abby Weed Grey set out to collect non-Western modern art, she was intent on meeting, as she later wrote, artists who were «breaking with the past to cope with the present,» and
whose «works best mark the advance from
tradition to a contemporary view.»