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MAVCOR Journal
MAVCOR Journal is an open access born-digital, double blind peer-reviewed journal dedicated to promoting conversation about material and visual cultures of religion. Published by the Center for the Study of Material and Visual Cultures of Religion at Yale University and reviewed by members of our distinguished Editorial Board and other experts, MAVCOR Journal encourages contributors to think deeply about the objects, performances, sounds, and digital experiences that have framed and continue to frame human engagement with religion broadly understood across diverse cultures, regions, traditions, and historical periods.
Volume 5: Issue 1 Material Religion of High Altitude Ecologies
Guest edited by Amy Holmes-Tagchungdarpa and Kalzang Dorjee Bhutia in collaboration with MAVCOR Journal Editor Emily C. Floyd. The call for papers for this special issue invited scholars coming from diverse disciplines (religious studies, anthropology, archaeology, history of art, visual studies, etc) and working across a range of high altitude ecologies, from the Andes to the Himalayas and beyond, to consider how the specificities of these regions impact material and visual aspects of religious practice. We have published Bhutia's essay, which helped inspired the idea for this special issue, in advance of the rest of the articles as a sneak peak of what is to come.
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The Riwo Sangchö is a ritual exchange that facilitates smoky relations between humans and spirits resident in landscapes around the world. Its history, as inspired by the landscape of Sikkim, provides insight into the complex materiality (and, at times, immateriality) of Sikkimese religion and ways that Sikkimese Buddhist communities have historically negotiated environmental change. The resilience of the practice today points to an alternative way of conceiving of multispecies interaction in the Anthropocene and historically contextualized directions for making new opportunities that benefit beings across dimensions.
Volume 4: Issue 1
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Since its construction around the turn of the twentieth century, Our Lady of Diman has served as the summer residence of the Maronite Catholic Patriarch. The prestige of the building is everywhere apparent: in the inlaid marble floor, in the gold and blue panes of the stained-glass windows. The church’s most remarkable feature, however, is the ceiling over its nave, with frescoes completed in the late 1930s by celebrated Lebanese painter Saliba Douaihy (1913-1994). -
This Ets Chayim, a Tree of Life, is obsolete, redundant, out of time and out of place. It is detached both from the Torah scroll for which it was made, and from its mate that once served that scroll’s other end. It is not supposed to be here anymore—here, that is, in a transformed, glass-sheathed, twenty-first-century Lower East Side, where the traces of immigrant life have been erased, sanitized, and gathered into museums, or commodified as “atmosphere” for an urban playground. Perhaps the act of marking it—noting its persistence beyond obsolescence, shorn of the text to which it was once an auxiliary, bereft of the hands that once grasped it and the congregation that once stood as it was lifted up—is a minor act of resistance in itself. -
In Judío, photographer Fernando Brito attempts to find an ad-hoc visual representation for the Yoremem or Mayo Indians in his native state of Sinaloa, Mexico. This portrait pays tribute to the foundational value of the community’s ritual, which combines indigenous cosmology with seventeenth-century Jesuit influence, as crucial to its survival and cohesion. -
Pagiel Leviyev’s house is very sick. Built in Samarkand over a century ago, the structure was designed as a mansion for a wealthy mercantile family. Today, it stands as a crumbling reminder of the Jewish community’s long and complex history in this unexpected spot of the world.
Volume 3: Issue 2 Material and Visual Cultures of Religion in the American South
This special joint issue is published with The Journal of Southern Religion (JSR). The journals issued a call for papers together in 2017 and are pleased to publish these four peer-reviewed articles, two editorial introductions, and one editorial reflection. In his editorial reflection, Bill Ferris considers his own history with southern religion and material culture. Jason Young and Louis P. Nelson offer introductions for the four articles, with additional reflection on the state of the field.
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Described by Flannery O’Connor as “Christ-haunted,” southern identity is and always has been shaped by religion. The still familiar sight of churches and hand-painted religious signs along highways and roads are powerful reminders of religion throughout the region. As the field of Southern Studies has evolved, so has our understanding of religion and its expression in material and visual culture in the region. -
This joint edition of MAVCOR Journal and the Journal of Southern Religion has focused needed attention on the ways that visual and material cultures have played and continue to play a critical role in shaping religious belief and practice in the American South. The very kind offer by the editors to write an editorial introduction to the edition encouraged me to reflect a bit more deeply on the trajectories of recent scholarship and some of the holes I see in the current historiography. -
Though often perceived as an arena of human life devoted exclusively to the ethereal, the actual practice of religion, not to mention our study of it, is mediated through the material circumstances of life. -
The simple, gable-end church form was suited to the material circumstances and to the socio-theological climate of the Second Great Awakening. Gable-end churches provided an affective and sensorial locus for newly created communities to position themselves as extensions of an evangelical Protestant national consciousness. -
The movement to build and furnish new churches in the Antebellum South was not the moment of Protestant women’s religious domestication, but rather an opportunity for a new type of public stewardship of the church, one that encouraged female collective action. Women expressed their piety and leadership in the church by enhancing its materiality, they gave their churches permanence and social status. -
In a large pasture in West Texas, thirty-five men and women sit mounted on horseback and forty more stand around them. Sitting astride a horse in front of them is their pastor, next to another man holding a large American flag. He reads to them from the Bible of the wondrous changes brought by the Lord and then invites them to church the next day. With this simple invocation, the pasture roping at the local cowboy church is now underway. -
Stowe’s deployments of bibles and artistic representations of them in illustrated editions offered a conservative abolitionism that emphasized the potential for peace among former slaves and masters. . . . bibles in the afterlives of Uncle Tom’s Cabin continued to offer moderation when it came to issues of race and racial interactions.
Volume 3: Issue 1
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Paintings are silent, but not to those who know how to listen. Some paintings appeal to the sense of hearing in order to stimulate the beholder’s emotional engagement. For eighteenth-century nuns living in the Viceroyalty of Peru, paintings could evoke Latin polyphony or villancicos, songs in the vernacular performed in sacred contexts. -
The history of global modernity is entangled with colonial histories, which continue to inculcate the identities of colonizer and colonized. The existing methodological approaches to non-Euro-American modernist art movements risk perpetuating colonial narratives. To challenge the problematic narratives of modernity, perpetuated by both traditional and emergent approaches to modernism, Egyptian modern art should be analyzed through a new paradigm called, “constellational modernism.” -
Trump has relentlessly pushed for a “monument” that cannot be torn down or simply relocated: the wall. -
The architecture of New Mexican village churches is often described as vernacular, which is to say that the construction materials (adobe, stone, vigas, latillas) are local; the design reflects local taste, tradition, and resources; the construction standards are idiosyncratic, pursuant to the experience, inclinations, and skills of the builders; and the finished product represents the history and cultural identity of the community.
Volume 2: Issue 1
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Obey God and Live (Vision of Heaven) is Elijah Pierce’s personal conversion narrative. In this piece of wood he depicted the definitive episode of his own spiritual autobiography, an event in his past that he understood to (re)organize, interpret, and frame his entire life. -
This series of images, taken over the course of six months, documents the street altars dotted around Mexico’s dense, urbanized capital, home to over twenty-one million people. -
In The Resolution of the Suspect, photographer Miki Kratsman builds on the reliquary nature and the transitive qualities of the carte-de-visite, creating a diptych: the historic image on one page of the centerfold and his own photograph of the bloody garment of a single unnamed Palestinian martyr on the other. -
In 1929, on her first visit to New Mexico, the American artist Georgia O’Keeffe (1887-1986) observed the animate potential of the region’s religious material culture.
Volume 1: Issue 1
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The objects on display in this collection stitch together what I call the “communion of shadows” that began with the invention of photography in the early nineteenth century. -
This American monument may even present an understudied alternative vision of the afterlife—one incorporating an intermediate phase just after death—that runs through nineteenth-century Protestant and Anglo-Episcopal sources. -
In 2014 the Dominican Order in Peru worked with Brazilian NGO EBRAFOL to produce digital facial reconstructions of Peruvian saints Rose of Lima, Martin of Porres, and John Macías. -
Ashley Makar interviewed Nruhari Das on September 22, 2012 at the Sri Sri Radha Govinda Mandir ISKON Hare Krisha Temple in Brooklyn, New York.