Christian Theology

808 quotes
0 likes
0Verified
35Authors

Timeline

First Quote Added

April 10, 2026

Latest Quote Added

April 10, 2026

All Quotes

"The immense energy Nicholas constantly poured into church reform at every level never obscured his philosophical clarity nor his subtle mysticism. For him, consciousness should ever seek Divine Unity, whilst action should have fraternal harmony as its purpose. The church, according to Nicholas, is a living unity, a fraternity united to the divine presence symbolized in Christ. As Deity is simple and also light, the shadows and reflections which constitute the world catch and transmit the light only to the degree that they form a universal harmony, the primary reflection of Divine Unity. Since Divine Light is simple and therefore the referent of only one Word, language and the categories of thought are necessarily engendered from experience of the realm of shadows...Opposites suggest new levels of synthesis; Deity is the coincidentia oppositorum, the reconciliation of contraries. Thus Nicholas, who taught that knowledge in one sense is conjecture, held that a careful examination of Nature and human thought reveals contraries and contradictions that can guide one to ever greater understanding. He found time to study Islam in detail, to propose a method of squaring any circle, to argue for the rotation of the earth on its axis, and to propose that the universe is boundless in time and space. Harmony is understood, he professed, and unity achieved by loving each and every thing according to its place in the community of Nature...Drawing from Pythagoras, Dionysius the Areopagite, and Meister Eckhart, Nicholas of Cusa kept alive the mystic flame of intuition and passed it to individuals as different as Giordano Bruno and Copernicus. Whilst struggling for moral reform within a decaying structure, he subtly laid the foundation of human dignity upon which both the Renaissance and the Reformation would be built."

- Divine light

0 likesgodchristian-theology
"Mortuary contexts also provide some of the earliest evidence for a Christian visual culture. From the first part of the third century, Christian catacombs featured art depicting biblical scenes of resurrection, salvation, and redemption (Lazarus, Susanna, Daniel in the lions' den, the sacrifice of Isaac), alongside both Christian symbols and pagan images that could convey new meanings (Bisconti, Chapter 11; cf. Bisconti 1999, 100-30 for an overview of common themes). Scholars have likewise long recognized the link between earliest Christian sculpture and themes present in funerary contexts (Kristensen, Chapter 18; Jensen 2000). Parani (Chapter 17) discusses how the earliest lamp forms of the third century with scenes of Noah, Jonah, and the Good Shepherd paralleled funerary art in other media and evoked the Christian concept of redemption and resurrection. Perhaps these mortuary contexts account for the appearance of Christian imagery in other media, although the emergence of amulets with Christian imagery as early as the third or even second centuries seems to indicate a somewhat different purpose; harnessing the power of the Christian god in their daily affairs (Cline, Chapter 19). Despite the troubling absence of secure archaeological contexts, the evidence does point to distinct forms of Christian material culture emerging by the third century that often point to the theological reflection on Christ's victory over death."

- Good Shepherd

0 likeschristian-theologymessianic-titles-of-jesus