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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.

Conversations

MAVCOR began publishing Conversations: An Online Journal of the Center for the Study of Material and Visual Cultures of Religion in 2014. In 2017 we selected a new name, MAVCOR Journal. Articles published prior to 2017 are considered part of Conversations and are listed as such under Volumes in the MAVCOR Journal menu.

  • John E. Cort
    These glass eyes seem to look intently at the viewer, seizing the viewer’s attention. This is precisely what they are intended to do by the Shvetambar Murtipujak Jains of western India; it is also precisely why the Digambar Jains of western India strenuously object to them.
  • Jeanette Favrot Peterson
    This Marian icon cannot be characterized as a single object as the perception of her authenticity, from which she gains her numinous power, draws on two distinct representations, one nested inside the other.
  • Allison Stielau
    In 1890 two men working in the area around Dolgellau in North Wales discovered this pair of objects in a crevice between rocks. Encrusted with soil and plant matter, the objects were not at first identifiable.
  • Emily C. Floyd
    Credited with saving the town from sure disaster, the Cross of Motupe became the centerpiece of a devotion that drew pilgrims from throughout the region, and eventually from throughout Peru.
  • A painting provides a view into a forest clearing with a green canopy of trees over a muddy, watery expanse.
    Rebecca Bedell
    In June 1840, Asher Durand wrote in his journal: “Today again is Sunday. I have declined attendance on church service, the better to indulge reflection unrestrained under the high canopy of heaven, amidst the expanse of waters—fit place to worship God and contemplate the wonders of his power.”
  • A pale stone slab is covered with low relief carvings. A central niche holds an ethroned figure carved in higher relief among his attendants. A variety of figures and processional scenes surround him as well as abstract vining and floral motifs.
    Kate Lingley
    This is a Buddhist votive stele made in the sixth century in north central China. It probably stood either in the courtyard of a Buddhist monastery, or in a public place such as a market square, or at a major crossroads.
  • A pale white statue of a thin woman draped in a dress stands on a pink marble pedestal. The work is located against a red wall in a spare room.
    Lauren Lessing
    Given the fact that Benjamin Paul Akers was a Protestant working at a time when nativist and anti-Catholic sentiments ran high in the United States, his choice to depict a miracle performed by an Eastern European saint seems peculiar, as does the popularity of his sculpture.
  • A series of large white and black paintings hangs on the walls of a white gallery space. The white canvases are painted with black lines of differing thicknesses.
    Valerie Hellstein
    According to the art critic Harold Rosenberg there is nothing religious about Barnett Newman’s series of fourteen roughly human-sized, black and white paintings, The Stations of the Cross: Lema Sabachtani.
  • A painting depicts a small child, a woman, and a suited man gathered around two urns on a plinth. They are framed by the drooping leaves of the golden tree that they stand under. The man gestures in oration and the woman leans on the plinth.
    Jamie L. Brummitt
    Mary Lyman’s mourning piece served as visual and material evidence of her education, participation in mourning practices, and her religious and social formation.
  • A woodcut depicts a female-figure holding a small, haloed child close. Hand-colored vignettes surround the group in delineated architectural spaces with patterned borders. The top vignette shows Mary at Christ's crucifixion.
    Lisa Pon
    Forlì's Madonna of the Fire is a large fifteenth-century woodcut almost twenty inches high and sixteen inches wide.
  • A manuscript page with black and red text depicts Christ on a blue, floral cross. A pale, blood-spurting Christ is nailed to the cross. The geometric figure has large open eyes but stiff limbs and drapery. Two angels swoop around the crucifix.
    Lawrence Nees
    The image of Christ on the Cross, either as an element of a narrative scene (a Crucifixion) or as an isolated object of devotion (a Crucifix) is so common in the artistic and religious traditions of the last millennium of Western art, especially but not only in the Catholic tradition, that it is seldom recognized that such images are altogether absent during the first centuries of Christianity, and remain rare at least through the eighth century of the common era.
  • A small red metal heart is fashioned with a white and blue banner unfurled across it. The banner is inscribed with "te Amo" in black, handwritten script. Abstract, metal flames emerge from the top of the heart.
    David Morgan
    This object was purchased in an upscale novelty shop catering to tourists in downtown Boulder, Colorado, in 2010 for $11.95. Although at first blush it appears to be a Sacred Heart of Jesus, on second look the banner, which reads “te amo,” Spanish for “I love you,” indicates that the heart may not belong to Jesus.

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