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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: David S. Whitley;

    Landscapes are socially produced and reproduced spaces. This is easily recognizable for large-scale urban groups with built environments that dominate living places. But it also pertains to all types of societies and cultures, even small-scale hunter–gatherers, once the ontological beliefs structuring landscape perception and use are acknowledged. The foragers of south–central and southern California and the Great Basin illustrate this fact. They maintained a widely shared ontological perspective supported by a fundamental cognitive postulate. This is that supernatural power, the principle causative agent in the universe, was differentially distributed among individuals and places. The distribution of power, revealed by certain geomorphological features and natural events, structured their perceptions of landscape. These perceptions were expressed in ritual and symbolism, including petroglyphs and pictographs as durable manifestations of ceremonies on the landscape. The ontological relationship between power and landscape explains a longstanding question in hunter–gatherer archaeology: Why were rock writing sites created at specific locations? It also explains another equally significant but rarely considered and related problem: Why do some localities have massive quantities of rock writings that dwarf most other sites? The landscape symbolism of and the placement of sites by Native Californian and Great Basin tribes is explained by reference to their shared ontological beliefs, illustrating how they structured their ritual practices and archaeological record.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2024
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    Article . 2024 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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      Article . 2024
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      Article . 2024 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Xinrui Zeng;

    A sacred site that draws pilgrims from distant regions is a distinctive resource for studying religion. Research into a site’s relevance to pilgrims and how it came to be founded contributes to a better understanding of religious activity. To address these issues, a thorough historical analysis of a sacred site’s records is essential. Such an analysis endeavors to distinguish the historical facts of a sacred site from its narratives and further discusses the significance of each. With such intent, this study focuses on the Rujing Stupa, a sacred site of significant importance to transnational pilgrimages that has yet to receive sufficient scholarly attention. The stupa, which is located at the Jingci Monastery in Hangzhou, China, is believed to hold the relics of Tiantong Rujing 天童如浄 (1163–1228), a Song Dynasty monk. Although the modern stele inscription at this location indicates that the stupa was founded in the 13th century, shortly after the monk’s death, this paper examines the historical reinventions within the inscription and traces the influence of Japanese narratives on such a reinvention. This study demonstrates that the Rujing Stupa was established by, and for, the Japanese Sōtō Buddhists. The Chinese monk’s connection to the Sōtō pilgrims lies in Rujing’s role as the master who instructed Dōgen 道元 (1200–1253), the founder of the Sōtō tradition, making his stupa a sacred site for the Sōtō community. Concerns of commemoration and reifying doctrinal authenticity motivated two generations of Japanese pilgrims to construct the Rujing stupa in the late 19th and 20th centuries, respectively. On the other hand, Rujing’s significance and the presence of the Sōtō tradition were scarcely acknowledged in China until the early modern period. Only in the late 20th century did Chinese Buddhists begin to appreciate this stupa. Examining the site’s historical reinventions and identifying the factors that shape its narrative, this case study offers insights into the investigation of sacred sites and suggests a concern for narrative in the examination of a site’s history and significance.

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    Article . 2023
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    Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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      Article . 2023
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      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Cao Gu;

    Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did Leo VI the Wise for two newly founded churches and Constantine VII Porphyrogenitus for the second most important church of the Empire, the Holy Apostles. But in most cases, the performance aspect of their speeches could only be known indirectly from two ceremonial handbooks, Kletorologion and De Ceremoniis. It is also necessary to indicate that the spectacles in homilies were not always real and present; they sometimes came to exist in listeners’ minds through picturesque descriptions (ekphraseis) and fictional figures (ethopoiiai) composed by preachers.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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    Article . 2023 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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      Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Article . 2023
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Gillian Williams; Mariette Harcombe;

    According to Numbers 21:4–9, the Nehushtan was a copper/bronze snake effigy that functioned as a ‘magical’ healing tool to cure the early Israelites from venomous snakebites they incurred during their desert wanderings. What is unclear from the narrative is the symbolic significance of the event, the materials used, the technical skills required, and whether magic was at play. Firstly, when considering the magical effects of the Nehushtan, we must define which type of magic—apotropaic or sympathetic—was involved. Based upon existing scholarship on the topic, the general consensus is that the Nehushtan represented sympathetic magic, underpinned in this instance by homeopathic/imitative magic. To highlight this point, this study will provide selected examples of both types of magic so that the Nehushtan’s association with sympathetic magic can be illustrated. Secondly, and most importantly, we must consider why the image of a snake was chosen if the very affliction (envenomation) suffered by the people was caused by the creature now being posited as a symbol of divine healing. Did the ancient perceptions of snakes and healing play a role in this decision? Why did the early Israelites not question the logic behind the use of a magical snake effigy when both magic and effigies were technically prohibited by biblical laws? To answer these questions, the study will consider the historical background (the Exodus from Egypt), the set (geographical location), and the setting (cultural contact and influence) in which the narrative of the Nehushtan took place.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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    Article . 2023 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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      Article . 2023 . Peer-reviewed
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      Article . 2023
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Colby Dickinson;

    It is certainly possible that we might learn to better acknowledge the spirits of our ancestors who came before us, as well as to recognize them in such ways that we also learn to embrace the ‘woven density’ of our own lives, our histories and our communities. By doing so, we might begin to discover that the spirits we had thought were removed from our modern, secularized world never fully left us, just as the irrationality of our humanity cannot be fully tamed via a reductive, rational and scientific outlook on life. There are, as Bruno Latour had frequently argued, many modes of human existence that interact in complex networks of relations. To fall back on any one particular mode as if it could dominate over others would only grant us a mistaken impression of our own humanity, even though this is what has been practiced for centuries in order to legitimate a particular, sovereign configuration of power. It is to the credit of archaeologists and hauntologists alike that we are more able than ever to take account of the complexity of ourselves in ways that we had previously ignored or repressed.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Religionsarrow_drop_down
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    Article . 2023
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    Article . 2023 . Peer-reviewed
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      Article . 2023
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      Article . 2023 . Peer-reviewed
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    Authors: Ivana Gagić Kičinbači;

    The article investigates attempts in contemporary art to convey transcendent realities through the lens of the artist. This study examines three key moments of the artistic creative process: intuition, asceticism, and silence. The article assesses silence or stillness as a specific mental state that enables us to evaluate reality with a heightened awareness of our own length, fragility, and the infinite that awaits us on the other side of existence. In artistic practice, silence is a prerequisite for authenticity, believability, and creativity. The article explores the possibility of uncovering and revealing the transcendent via matter through the author’s own artistic inquiry. It discusses art as a master of transforming material, psychological, and physical facts into shapes that hint at what is beyond what the eye or ear can perceive. Art can lead to the sublime and open the mind, eyes, and heart to that which is beyond. The expression of the transcendent through artistic action is observed by analyzing the relationship between the artist and intuitive knowledge in the artistic practices of contemporary and modern artists. Along with the qualitative method of narrative research, research methodologies specific to the artistic field (visual arts) were predominately used, expanding the boundaries of qualitative research by taking a holistic approach closer to the very nature of the artistic process and allowing for a more complete understanding of the process itself.

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    Article . 2023
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    Article . 2023 . Peer-reviewed
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    Authors: Utrero Agudo, María de los Ángeles;

    In recent decades, archaeological and written records have been used in combination to improve our understanding of Late Antique and Early Medieval Hispanic architectural culture (5th–10th c.). Within this renewed research context, the rebuilding of Late Antique churches and the reuse of earlier materials in both Early Medieval Christian and Islamic religious buildings; the transformation of Late Antique churches into early Islamic mosques in al-Andalus; and the rebuilding of other churches by the Christians themselves, both in al-Andalus and in the northern Iberian plateau, from the late 8th century onwards, have often been used to thread narratives concerning tradition, continuity, and re-sacralisation of earlier religious architectural spaces and, through this, religious change in the middle ages. However, the application of modern archaeological methodology reveals that these processes need to be qualified, for the stratigraphic gaps between building phases make them sometimes hard to interpret. By analysing some examples of Hispanic religious sites, this paper reflects on the many concepts related to sacralisation, explains the way archaeology is able to trace the sacralisation processes, and intends thus to highlight the complexity of these phenomena.

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    Article . 2023
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    Article . 2023 . Peer-reviewed
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      Article . 2023
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      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: José Carlos López-Gómez;

    This study analyses the reshaping of the religious landscape of the cities of Hispania, from the disappearance of polytheistic sanctuaries to the construction of Christian churches, from the fourth to the middle of the sixth centuries CE. The focus is placed on the agents who financed these complexes and the motivations behind their euergetic activities. The study highlights that the configuration of places of worship in the urban landscape was a contingent process often dependent on individual (layperson) initiative, challenging the widespread assumption that the Church and its bishops were the main promoters of urban redevelopment in Hispanic cities during this period.

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    Article . 2023
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      Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: András Máté-Tóth; Zsófia Rakovics;

    This paper studies the views of Hungary’s Prime Minister Viktor Orbán on religion and Christianity, using both quantitative and qualitative methods. The analysis is based on Viktor Orbán’s speeches in Băile Tușnad, at Bálványos Free Summer University and Student Camp (commonly known as Tusványos), which are suitable to sensitively trace the evolution of his thinking from 1990 to 2022. The analysis shows how the concept of Christianity has changed in meaning in the speeches, how it has been linked to political issues, and in what ways Orbán’s thinking has been similar to and different from political Christianity and religious Christianity. Orbán’s concept of Christianity can be understood within the theoretical framework of populism developed by Ernesto Laclau and Chantal Mouffe: in the discursive struggle for political hegemony, there is a continuous construction of ‘the people’, of society, in which ‘empty markers’ play a key role. Orbán’s concept of Christianity can thus be adequately interpreted in terms of the discourse of the permanent creation of the ‘nation’. The political emphasis on Christianity is related to the wounded collective identity of Hungarian society. The paper argues that because of the collective woundedness, society requires an overarching narrative symbolizing unity, of which Christianity is a key concept.

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    Article . 2023
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    Authors: Jesús Wiliam Huanca-Arohuanca; Edgar Gutiérrez-Gómez; Giovana Ccama-Ramos; Felipe Supo-Condori; +1 Authors

    The spectral space of the Andes has an architectural cultural richness based on the construction of shrines with a Christian tendency from Spain. The purpose of the study is to analyze and describe the historical process of the colonial Catholic churches located in the Aymara Altiplano of Peru. The study followed the qualitative parameter of historical documentation, where the colonial origin of the buildings was traced, their singular conceptual designs were established, and their use was examined, to finally explain their permanence in time, since they developed in two transcendental moments: the diachronic history and the systematic description of the characteristics in the current churches. Ecclesiastical sanctuaries such as San Pedro and San Pablo, San Juan Evangelista, Concepcion, and Santa Barbara began their construction in 1560, being the first and the oldest to be constituted by the Spanish, but strictly with functions of Christianizing and the collection of taxes from the indigenous people of the Altiplano.

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    Other literature type . Article . 2023 . Peer-reviewed
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      Other literature type . Article . 2023 . Peer-reviewed
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: David S. Whitley;

    Landscapes are socially produced and reproduced spaces. This is easily recognizable for large-scale urban groups with built environments that dominate living places. But it also pertains to all types of societies and cultures, even small-scale hunter–gatherers, once the ontological beliefs structuring landscape perception and use are acknowledged. The foragers of south–central and southern California and the Great Basin illustrate this fact. They maintained a widely shared ontological perspective supported by a fundamental cognitive postulate. This is that supernatural power, the principle causative agent in the universe, was differentially distributed among individuals and places. The distribution of power, revealed by certain geomorphological features and natural events, structured their perceptions of landscape. These perceptions were expressed in ritual and symbolism, including petroglyphs and pictographs as durable manifestations of ceremonies on the landscape. The ontological relationship between power and landscape explains a longstanding question in hunter–gatherer archaeology: Why were rock writing sites created at specific locations? It also explains another equally significant but rarely considered and related problem: Why do some localities have massive quantities of rock writings that dwarf most other sites? The landscape symbolism of and the placement of sites by Native Californian and Great Basin tribes is explained by reference to their shared ontological beliefs, illustrating how they structured their ritual practices and archaeological record.

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    Article . 2024
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    Article . 2024 . Peer-reviewed
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    Authors: Xinrui Zeng;

    A sacred site that draws pilgrims from distant regions is a distinctive resource for studying religion. Research into a site’s relevance to pilgrims and how it came to be founded contributes to a better understanding of religious activity. To address these issues, a thorough historical analysis of a sacred site’s records is essential. Such an analysis endeavors to distinguish the historical facts of a sacred site from its narratives and further discusses the significance of each. With such intent, this study focuses on the Rujing Stupa, a sacred site of significant importance to transnational pilgrimages that has yet to receive sufficient scholarly attention. The stupa, which is located at the Jingci Monastery in Hangzhou, China, is believed to hold the relics of Tiantong Rujing 天童如浄 (1163–1228), a Song Dynasty monk. Although the modern stele inscription at this location indicates that the stupa was founded in the 13th century, shortly after the monk’s death, this paper examines the historical reinventions within the inscription and traces the influence of Japanese narratives on such a reinvention. This study demonstrates that the Rujing Stupa was established by, and for, the Japanese Sōtō Buddhists. The Chinese monk’s connection to the Sōtō pilgrims lies in Rujing’s role as the master who instructed Dōgen 道元 (1200–1253), the founder of the Sōtō tradition, making his stupa a sacred site for the Sōtō community. Concerns of commemoration and reifying doctrinal authenticity motivated two generations of Japanese pilgrims to construct the Rujing stupa in the late 19th and 20th centuries, respectively. On the other hand, Rujing’s significance and the presence of the Sōtō tradition were scarcely acknowledged in China until the early modern period. Only in the late 20th century did Chinese Buddhists begin to appreciate this stupa. Examining the site’s historical reinventions and identifying the factors that shape its narrative, this case study offers insights into the investigation of sacred sites and suggests a concern for narrative in the examination of a site’s history and significance.

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    Article . 2023 . Peer-reviewed
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    Authors: Cao Gu;

    Although John Chrysostom is critical of the theatre, delivering a homily was never a tiresome monologue of the preacher in Byzantium; it was a theatrical performance combining text-reading and multiple ceremonies, during which spaces, lights, and materials were manipulated to create marvellous spectacles and enslave the audience spiritually and emotionally. At times, orators described the physical features of the venues where they spoke, as did Leo VI the Wise for two newly founded churches and Constantine VII Porphyrogenitus for the second most important church of the Empire, the Holy Apostles. But in most cases, the performance aspect of their speeches could only be known indirectly from two ceremonial handbooks, Kletorologion and De Ceremoniis. It is also necessary to indicate that the spectacles in homilies were not always real and present; they sometimes came to exist in listeners’ minds through picturesque descriptions (ekphraseis) and fictional figures (ethopoiiai) composed by preachers.

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    Authors: Gillian Williams; Mariette Harcombe;

    According to Numbers 21:4–9, the Nehushtan was a copper/bronze snake effigy that functioned as a ‘magical’ healing tool to cure the early Israelites from venomous snakebites they incurred during their desert wanderings. What is unclear from the narrative is the symbolic significance of the event, the materials used, the technical skills required, and whether magic was at play. Firstly, when considering the magical effects of the Nehushtan, we must define which type of magic—apotropaic or sympathetic—was involved. Based upon existing scholarship on the topic, the general consensus is that the Nehushtan represented sympathetic magic, underpinned in this instance by homeopathic/imitative magic. To highlight this point, this study will provide selected examples of both types of magic so that the Nehushtan’s association with sympathetic magic can be illustrated. Secondly, and most importantly, we must consider why the image of a snake was chosen if the very affliction (envenomation) suffered by the people was caused by the creature now being posited as a symbol of divine healing. Did the ancient perceptions of snakes and healing play a role in this decision? Why did the early Israelites not question the logic behind the use of a magical snake effigy when both magic and effigies were technically prohibited by biblical laws? To answer these questions, the study will consider the historical background (the Exodus from Egypt), the set (geographical location), and the setting (cultural contact and influence) in which the narrative of the Nehushtan took place.

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    Authors: Colby Dickinson;

    It is certainly possible that we might learn to better acknowledge the spirits of our ancestors who came before us, as well as to recognize them in such ways that we also learn to embrace the ‘woven density’ of our own lives, our histories and our communities. By doing so, we might begin to discover that the spirits we had thought were removed from our modern, secularized world never fully left us, just as the irrationality of our humanity cannot be fully tamed via a reductive, rational and scientific outlook on life. There are, as Bruno Latour had frequently argued, many modes of human existence that interact in complex networks of relations. To fall back on any one particular mode as if it could dominate over others would only grant us a mistaken impression of our own humanity, even though this is what has been practiced for centuries in order to legitimate a particular, sovereign configuration of power. It is to the credit of archaeologists and hauntologists alike that we are more able than ever to take account of the complexity of ourselves in ways that we had previously ignored or repressed.

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    Authors: Ivana Gagić Kičinbači;

    The article investigates attempts in contemporary art to convey transcendent realities through the lens of the artist. This study examines three key moments of the artistic creative process: intuition, asceticism, and silence. The article assesses silence or stillness as a specific mental state that enables us to evaluate reality with a heightened awareness of our own length, fragility, and the infinite that awaits us on the other side of existence. In artistic practice, silence is a prerequisite for authenticity, believability, and creativity. The article explores the possibility of uncovering and revealing the transcendent via matter through the author’s own artistic inquiry. It discusses art as a master of transforming material, psychological, and physical facts into shapes that hint at what is beyond what the eye or ear can perceive. Art can lead to the sublime and open the mind, eyes, and heart to that which is beyond. The expression of the transcendent through artistic action is observed by analyzing the relationship between the artist and intuitive knowledge in the artistic practices of contemporary and modern artists. Along with the qualitative method of narrative research, research methodologies specific to the artistic field (visual arts) were predominately used, expanding the boundaries of qualitative research by taking a holistic approach closer to the very nature of the artistic process and allowing for a more complete understanding of the process itself.

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    Authors: Utrero Agudo, María de los Ángeles;

    In recent decades, archaeological and written records have been used in combination to improve our understanding of Late Antique and Early Medieval Hispanic architectural culture (5th–10th c.). Within this renewed research context, the rebuilding of Late Antique churches and the reuse of earlier materials in both Early Medieval Christian and Islamic religious buildings; the transformation of Late Antique churches into early Islamic mosques in al-Andalus; and the rebuilding of other churches by the Christians themselves, both in al-Andalus and in the northern Iberian plateau, from the late 8th century onwards, have often been used to thread narratives concerning tradition, continuity, and re-sacralisation of earlier religious architectural spaces and, through this, religious change in the middle ages. However, the application of modern archaeological methodology reveals that these processes need to be qualified, for the stratigraphic gaps between building phases make them sometimes hard to interpret. By analysing some examples of Hispanic religious sites, this paper reflects on the many concepts related to sacralisation, explains the way archaeology is able to trace the sacralisation processes, and intends thus to highlight the complexity of these phenomena.

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    Authors: José Carlos López-Gómez;

    This study analyses the reshaping of the religious landscape of the cities of Hispania, from the disappearance of polytheistic sanctuaries to the construction of Christian churches, from the fourth to the middle of the sixth centuries CE. The focus is placed on the agents who financed these complexes and the motivations behind their euergetic activities. The study highlights that the configuration of places of worship in the urban landscape was a contingent process often dependent on individual (layperson) initiative, challenging the widespread assumption that the Church and its bishops were the main promoters of urban redevelopment in Hispanic cities during this period.

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      Article . 2023
      Data sources: DOAJ
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      Article . 2023 . Peer-reviewed
      License: CC BY
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    Authors: András Máté-Tóth; Zsófia Rakovics;

    This paper studies the views of Hungary’s Prime Minister Viktor Orbán on religion and Christianity, using both quantitative and qualitative methods. The analysis is based on Viktor Orbán’s speeches in Băile Tușnad, at Bálványos Free Summer University and Student Camp (commonly known as Tusványos), which are suitable to sensitively trace the evolution of his thinking from 1990 to 2022. The analysis shows how the concept of Christianity has changed in meaning in the speeches, how it has been linked to political issues, and in what ways Orbán’s thinking has been similar to and different from political Christianity and religious Christianity. Orbán’s concept of Christianity can be understood within the theoretical framework of populism developed by Ernesto Laclau and Chantal Mouffe: in the discursive struggle for political hegemony, there is a continuous construction of ‘the people’, of society, in which ‘empty markers’ play a key role. Orbán’s concept of Christianity can thus be adequately interpreted in terms of the discourse of the permanent creation of the ‘nation’. The political emphasis on Christianity is related to the wounded collective identity of Hungarian society. The paper argues that because of the collective woundedness, society requires an overarching narrative symbolizing unity, of which Christianity is a key concept.

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    Article . 2023
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      Article . 2023
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    Authors: Jesús Wiliam Huanca-Arohuanca; Edgar Gutiérrez-Gómez; Giovana Ccama-Ramos; Felipe Supo-Condori; +1 Authors

    The spectral space of the Andes has an architectural cultural richness based on the construction of shrines with a Christian tendency from Spain. The purpose of the study is to analyze and describe the historical process of the colonial Catholic churches located in the Aymara Altiplano of Peru. The study followed the qualitative parameter of historical documentation, where the colonial origin of the buildings was traced, their singular conceptual designs were established, and their use was examined, to finally explain their permanence in time, since they developed in two transcendental moments: the diachronic history and the systematic description of the characteristics in the current churches. Ecclesiastical sanctuaries such as San Pedro and San Pablo, San Juan Evangelista, Concepcion, and Santa Barbara began their construction in 1560, being the first and the oldest to be constituted by the Spanish, but strictly with functions of Christianizing and the collection of taxes from the indigenous people of the Altiplano.

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    Other literature type . Article . 2023 . Peer-reviewed
    License: CC BY
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Article . 2023
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      Other literature type . Article . 2023 . Peer-reviewed
      License: CC BY
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      Article . 2023
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