After his ordination to the priesthood in the Orthodox Church in 1959, Meyendorff and his family moved to the United States. There he joined the faculty of Saint Vladimir's Seminary, first located in New York City then in Crestwood, Yonkers, New York, as a professor of Church history and patristics. Additionally, he held successive joint appointments as a lecturer in Byzantine theology at Harvard University, Dumbarton Oaks (to which he returned for a semester as acting director of studies in 1977), and as professor of Byzantine history at Fordham University (from 1967). He also was adjunct professor at Columbia University and Union Theological Seminary, both in New York City, and lectured widely on university campuses and at church events. He held the position of dean of St. Vladimir's Seminary from March 1984 until June 1992.
Meyendorff's doctoral dissertation on Palamas is considered to have transformed the opinion of some in the Western Church regarding Palamism. Before his study of Palamas, Palamite theology was considered to be a "curious and sui generis example of medieval Byzantium's intellectual decline." Meyendorff's landmark study of Palamas however, "set Palamas firmly within the context of Greek patristic thought and spirituality" with the result that Palamism is now generally understood to be "a faithful witness to the long-standing Eastern Christian emphasis on deification (theosis) as the purpose of the divine economy in Christ."[1]
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For over a thousand years, Eastern Christendom had as its center the second capital of the Roman Empire-Constantinople, the "New Rome," or Byzantium. The geographical division between the Eastern and Western Churches was only one manifestation of deeper rifts, characterized by a long history of conflicts, suspicions, and misunderstandings. Although the art, monasticism, and spirituality of Byzantium have come to be recognized as inspirational and influential in the shaping of Eastern European civilization, and of the Middle Ages and the Renaissance as well, the West has been in the main ignorant of the historical evolution and the doctrinal significance of Byzantine theology. Here, for the first time in English, is presented a synthesis of Byzantine Christian thought. The reader is guided through its complexities to an understanding of Byzantium: its view of man and his destiny of "deification"; its ability to transcend the "Western captivity"; its survival under quite adverse historical circumstances. In the end, he may well find himself receptive to the basic positions of Byzantine thought, which have attained, in this time of need for the reintegration of Christianity itself, a surprising, contemporary relevance.
Having been ordained to the priesthood in the Orthodox Church, he became Professor of Church History and Patristics at St Vladimir's Seminary (1959), holding also successive joint appointments as lecturer in Byzantine theology at Harvard University, Dumbarton Oaks (to which he returned for a semester as Acting Director of Studies in 1977), and as Professor of Byzantine History at Fordham University (from 1967). He also was Adjunct Professor at Columbia University and Union Theological Seminary and lectured widely on university campuses and at church events. He held the position of Dean of St Vladimir's Seminary from March 1984 until June 1992.
Fr Meyendorff's publications include the critical text and translation of Byzantine theologian Gregory Palamas (1959), as well as a number of books in the fields of theology and history, such as A Study of Gregory Palamas (French ed., 1959; Engl. 1964); The Orthodox Church (1963); Orthodoxy and Catholicity (1966); Christ in Eastern Christian Thought (1969); Byzantine Theology (1973); Marriage, an Orthodox Perspective (1975); Living Tradition (1978); Byzantium and the Rise of Russia (1980); The Byzantine Legacy in the Orthodox Church (1981); Catholicity and the Church (1983); and Imperial Unity and Christian Divisions. The Church 450-680 AD (1989). His books have been published in a number of languages, including French, German, Italian, Russian, Greek, Finnish, Spanish, Dutch, Japanese, Serbian, and Polish.
The Puritan Board is a forum dedicated to the discussion of Christian theology in a Confessionally Reformed context. We are dedicated to our historic Creeds and Confessions because we believe they are faithful to the Scriptures.
After his ordination to the priesthood in the Orthodox Church in 1959, Meyendorff and his family moved to the United States. There he joined the faculty of Saint Vladimir's Seminary, located in Tuckahoe, New York, as a Professor of Church History and Patristics. Additionally, he held successive joint appointments as a lecturer in Byzantine theology at Harvard University, Dumbarton Oaks (to which he returned for a semester as Acting Director of Studies in 1977), and as Professor of Byzantine History at Fordham University (from 1967). He also was Adjunct Professor at Columbia University and Union Theological Seminary, both in New York City, and lectured widely on university campuses and at church events. He held the position of Dean of St. Vladimir's Seminary from March 1984 until June 1992.
Source: _Meyendorff
ABSTRACT: Our deeply visual culture today shows the fascination humanity has with the power of images. This paper intends to discuss the use and importance of images within the context of Byzantine art. The works produced in the service of the Eastern Orthodox Church still employed today, show a remarkable synthesis of doctrine, theology and aesthetics. The rigid program of Church decoration was meant as a didactic element to accompany the liturgy. The majesty of the images bespeaks of the Glory of God and the spiritual realities of the Christian faith. The images were intended to educated and provide contemplation of the invisible realm of the spirit. Byzantine aesthetics, therefore, is thoroughly in the service of theology.
In Byzantine art one can discover the wealthiest and most complex fusion of functions, elements and reasons. The synthesis of theology, religion and aesthetics provides a window to a multifaceted world view that has endured remaining relevant for centuries, still being promoted today within the Orthodox Church. Borne of the Early Christian art of the 3rd and 4th centuries (Rodley, p.2) prior to its acceptance and promotion as the official state religion of the Roman empire, this art form originally drew on the visual imagery of the pagan past. Amidst the vastness of the Roman empire, multiform influences prevailed of which the most significant was Hellenistic (Stuart, p.54) The majesty and physical detachment one encounters in an icon contrast sharply with the delight in the beauty of the human form that Hellenism elaborated. The pagan deities were given visual form in images and idols that evoked their presence and assured their cooperation. Although it is difficult to reconstruct the emotive and psychological values that the idols and temples of antiquity elicited from the viewer, nevertheless, the power of those images to inform and instruct has been amply discussed from Plato onward. The Greek ideal of beauty in conjunction with truth and the good dominated ancient art and demanded thoughtfulness and contemplation from the viewer. Rome added the element of propaganda to the imperial images from the reign of Augustus on, along with the influence of the Greek aesthetic. It is important to remember that the Graeco-Roman religion was concrete, in the sense that the gods were portrayed with distinct characteristics and personalities. Their exploits were duly sung by the epic poets and dramatists who, in the process, humanized the idea of the remote and immortal deities. Thus people of the pagan past could clearly visualize their gods who appear almost human not only in their physique but also in their behavior.
Byzantine art is thoroughly in the service of theology. Through the abstractions and symbols of shapes and colors a sacred reality becomes visible. As Professor Mircea Eliade explains: "The great mystery consists in the very fact that the sacred is made manifest... for in making itself manifest the sacred limits and 'historicises' itself...the sacred accepted self-limitation."(Altizer, p.59) The importance here lies in the Incarnation of Christ in a particular place and at a specific historical time. As Thomas Altizer elaborates: "This revolutionary transformation of the archaic religion was grounded in a new theophany, a new manifestation of the sacred as a personal God who ceaselessly intervenes in history, who reveals his will through events." (Altizer, p.60) The God of Christianity is a personal God who can be directly accessible and His presence can be directly experienced in the Church. (Meyendorff, p. 13). Although one may know that God exists, not much about His nature can be known by human comprehension, rather one may contemplate theological truths such as the central concept, the Trinity. The Eucharistic liturgy provided the answer to the mystery of the Trinity, by a re-enactment of the sacred drama and communion with God (Meyendorff, p.206). The centrality of the Eucharist was amplified by rich hymnody, elaborate ceremonials and extensive decoration which continuously emphasized the fact that God had revealed Himself to humanity in the Incarnation of Jesus Christ.
By studying the spiritual intensity of Byzantine art, one may be able to regain once more the awe of mystery of life and nature that surrounds humanity even in an overwhelming technological and material world of today. The fundamental questions of truth and meaning remain in spite of the great scientific and technological strides of history. Byzantine art and theology still present today within the Eastern Orthodox Church provides a model of synthesis of spiritual and visual realities, thus adding to the repertoire of the power of images to inspire and educate. be457b7860
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