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Relevant bibliographies by topics / Art and theology

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Academic literature on the topic 'Art and theology'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Art and theology"

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Castro, Sixto J. "Art Via Theology." American Catholic Philosophical Quarterly 91, no. 2 (2017): 299–316. http://dx.doi.org/10.5840/acpq201736112.

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Jones, Tom Devonshire. "Art-Theology-Church." Theology 95, no. 767 (September 1992): 360–70. http://dx.doi.org/10.1177/0040571x9209500506.

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Pattison, George. "Art and Theology." Theology 95, no. 767 (September 1992): 377. http://dx.doi.org/10.1177/0040571x9209500508.

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Lewis, Paul. "Visual Art as Theology." Tradition and Discovery: The Polanyi Society Periodical 22, no. 1 (1995): 31–32. http://dx.doi.org/10.5840/traddisc1995/199622134.

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Aguirre Romero, Federico. "Icons: Art and Theology." Anuario de Historia de la Iglesia 25 (June 1, 2016): 241–63. http://dx.doi.org/10.15581/007.25.241-263.

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Sherry, Patrick. "The Art of Theology." Ars Disputandi 5, no. 1 (January 2005): 97–98. http://dx.doi.org/10.1080/15665399.2005.10819872.

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Donagh, Enda Mc. "Beauty, Art and Theology." Irish Theological Quarterly 72, no. 4 (November 2007): 338–49. http://dx.doi.org/10.1177/0021140008088806.

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Whitehurst, Fred H. "Art and pastoral theology." Pastoral Psychology 44, no. 5 (May 1996): 321–32. http://dx.doi.org/10.1007/bf02262823.

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Ursic, Elizabeth. "Imagination, Art, and Feminist Theology." Feminist Theology 25, no. 3 (May 2017): 310–26. http://dx.doi.org/10.1177/0966735017695953.

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This article explores the importance of imagination and art when developing and working with theology, particularly feminist theology. It begins with a short review of selected periods in Christian history that either supported or warned against the use of imagination and art in classical theological development. Feminist theology has had a different history because since its inception, imagination has been central to the formation and exploration of the field. Imagination and art have continued to develop and promote feminist theological worship, and backlash against feminist theology has also focused on these artistic expressions. I propose the term theological imaginizing for the intentional engagement and exploration of imagination and art with theology, and I share insights based on my field research for integrating feminist theology with art in Christian worship today.

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O'Donovan, Conn, and Gesa E. Thiessen. "Theology and Modern Irish Art." Circa, no. 91 (2000): 52. http://dx.doi.org/10.2307/25563558.

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Dissertations / Theses on the topic "Art and theology"

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Bruneel, Benjamin. "Art and worship in Zwinglian theology." Theological Research Exchange Network (TREN), 2007. http://www.tren.com/search.cfm?p001-1141.

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Manning, Russell Robert. "Theology at the end of culture : Paul Tillich's theology of culture and art." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615700.

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Worley, Taylor. "Theology and contemporary visual art : making dialogue possible." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/940.

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Within the field of theological aesthetics, this project assesses the divide between theological accounts of art and the re-emergence of religious imagery in modern and contemporary art. More specifically, American Protestant theologians and their accounts of visual art will be taken up as a representative set of contemporary theological inquiry in the arts. Under this category, evaluation will be made of three diverse traditions in American Protestant thought: Paul Tillich and Liberal Protestantism, Francis Schaeffer and the Neo-Calvinists, and the open evangelical accounts of Nicholas Wolterstorff and William Dyrness. With respect to modern and contemporary visual art, this evaluation judges the degree to which theologians have understood the primary concepts and dominant narratives of various modernisms and postmodernisms of art since the end of the nineteenth century, recognised the watershed moments in the lineage of the twentieth century avant-garde, and acknowledged the influence of critical theory not only upon the contemporary discourse in aesthetics and art production but also in the social reception of art. In tracing the re-emergence of religious imagery in modern and contemporary art, this project takes up three diverse traditions: the Crucifixions of Francis Bacon and the memento mori art of Damien Hirst, the ‘re-enchantment’ of art in the work of Joseph Beuys, and the art of ‘False Blasphemy’ associated with lapsed Catholics like Rober Gober and Andres Serrano. By assessing what theologians have written concerning visual art and the surprising return of certain religious imagery in modern and contemporary art, this study will intimate a new way forward in a mutually beneficial dialogue for art and religious belief.

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Slikker, Hank B. "Narrative art, unity, and theology in 1 Kings 22:1-38." Theological Research Exchange Network (TREN), 1991. http://www.tren.com.

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Lindloff, Aaron. "Filmic icons a new art for worship /." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Lee, Keonsoo. "Revisiting the use of art, imagery and symbolism in the Presbyterian Liturgical tradition in Korea : a practical-theological research." Thesis, Stellenbosch : Stellenbosch University, 2013, 2013. http://hdl.handle.net/10019.1/85728.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: Aesthetics has a theological calling: The beauty (or ugliness) in the world and art incites us to long for the divine eternal beauty. The earthly beauty is revelatory and analogous to the beauty of God. Imagination, i.e. making an image, whether mental or physical, is an inherent faculty of human beings who were created in the image of God. It is an insuppressible human activity. Besides, the search for meaning, which is a universal human quest for the purpose in life, is a concern common in both religion and art. Aesthetics (art and beauty) thereby should be a theological locus, a graceful partner of theological dialogue. But how much are aesthetic dimensions incorporated in the Korean Presbyterian theological/liturgical context? Visual art, imagery and symbolism are considered marginal or even dangerous in the Korean Presbyterian churches while preaching is given a dominant position in their worship services. As a result, they are losing sight of the essential implications that aesthetic, embodied experiences of art, imagery and symbolism have for liturgical richness. Art, imagery and symbolism are fundamental components in Christian life and worship as demonstrated with numerous evidences throughout the Christian history. They are never discordant with the tradition of the Word, but rather, have critical importance to theology for five reasons – the human as embodied being, a manifestation of imago Dei, the integrative characteristic of our thinking and perceiving, the Bible as book of images, and the contemporary culture of images. Against this backdrop, aesthetic expressions of art, imagery and symbolism are claimed to have five features significant to Christian worship: The revelatory power of the beauty in nature or works of art displays something of God; aesthetic expressions of art, imagery and symbolism speak to the human totality as an intelligent-affective-sensate-corporeal being; people necessarily become participants in the performative nature of art and its claim of truth; the beauty, truth and goodness manifested in works of art may be a reminder of our responsibility to work for the transformation of the world; an artwork can serve an eloquent mode of hoping for the present absent reality of the Kingdom of God. In terms of these qualities, an implication that aesthetic experiences in worship have the power to reframe, taking us to the encounter with the divine beauty, goodness and truth, is drawn, and a fusion of the verbal and non-verbal is claimed conclusively.
AFRIKAANSE OPSOMMING: Estetika het 'n teologiese roeping: Die skoonheid (of lelikheid) in die wêreld en kuns moedig ons aan om na die goddelike ewige skoonheid te verlang. Die aardse skoonheid is openbarend en ooreenkomstig tot die skoonheid van God. Verbeelding, dit wil sê die maak van 'n beeld, óf dit geestelik of fisies is, is 'n inherente fakulteit van die mens wat in die beeld van God geskape is. Dit is 'n menslike aktiwiteit wat nie onderdruk kan word nie. Buitendien, die soeke na betekenis, wat 'n universele menslike soektog na die doel van die lewe is, is 'n belangstelling wat algemeen in godsdiens en kuns voorkom. Estetika (kuns en skoonheid) moet daarmee 'n teologiese lokus wees, 'n bekoorlike vennoot in die teologiese dialoog. Hoeveel van estetiese dimensies word egter in die Koreaanse Presbiteriaanse teologiese / liturgiese konteks opgeneem? Visuele kuns, beelde en simboliek word as marginaal of selfs gevaarlik in die Koreaanse Presbiteriaanse kerke beskou, terwyl prediking 'n dominante posisie in hul eredienste beklee. Die gevolg is dat die belangrikste implikasies wat die estetiese, beliggaamde ervarings wat kuns, beelde en simboliek vir liturgiese rykdom inhou, uit die oog verloor word. Kuns, beelde en simboliek is fundamentele komponente van die Christelike lewe en aanbidding soos verskeie getuienis in die Christelike geskiedenis demonstreer. Hulle is nooit teenstrydig met die tradisie van die Woord nie, maar dit is eerder van kardinale belang vir die teologie vir vyf redes – die mens as beliggaamde wese; 'n manifestasie van die Imago Dei; die geïntegreerde kenmerk van ons denke en waarneming; die Bybel as boek van beelde, en die huidige kontemporêre kultuur van beelde. Die estetiese uitdrukking van kuns, beelde en simboliek besit op hierdie gronde vyf eienskappe van belang vir die Christelike aanbidding naamlik: Die openbarende krag van skoonheid in die natuur of kunswerke wat iets van God vertoon; die estetiese uitdrukking van kuns, beelde en simboliek praat tot die menslike totaliteit as 'n intelligente-affektiewe-sintuiglik-waarnemende-liggaamlike wese; mense word noodsaaklike deelnemers in die performatiewe aard van kuns en sy eis van die waarheid; die skoonheid, waarheid en goedheid wat in kunswerke te sien is, kan vir ons tot 'n herinnering wees van ons verantwoordelikheid om vir die transformasie van die wêreld te werk; 'n kunswerk kan as 'n welsprekende beeld van hoop vir die hede dien in die afwesige werklikheid van die Koninkryk van God. Die implikasie van die mag om verandering te weeg te bring wat estetiese ervarings in aanbidding mag hê, word volgens hierdie eienskappe veronderstel. Dit neem ons na ŉ ontmoeting met die goddelike skoonheid, goedheid en waarheid en die samesmelting van die verbale en nieverbale word gevolglik opgeëis.

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Mathewson, Steven D. "The art of preaching Old Testament narrative literature." Theological Research Exchange Network (TREN) Access this title online, 2000. http://www.tren.com/search.cfm?p068-0218.

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Vette, Joachim F. "Narrative art and reader creativity a comparative reading of 1 Samuel 9:1-10:16 /." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Hsieh, Su-Lien. "Buddhist meditation as art practice : art practice as Buddhist meditation." Thesis, Northumbria University, 2010. http://nrl.northumbria.ac.uk/1942/.

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This thesis explores the impact of meditation on art practice. Its basic hypothesis is that Buddhist meditation can expand creative capacity by enabling the practitioner to transcend the limits of everyday sense experience and consciousness. Artists engaging in meditation develop a closer, more aware relationship with their emptiness mind (kongxin), freeing them from preconceptions and contexts that limit their artistic creation. Because this practice-led research focuses on how to expand one‘s freedom as an artist, I use two models to explore studio practice, then compare and contrast them with my own prior approach. A year-by-year methodology is followed, as artistic practice develops over time. The first model is studio practice in the UK, the second is Buddhist meditation before artistic activity. The research took place over three years, each representing a distinct area. Accordingly, in area 1 (the first year), I compared studio art practice in the UK with post-meditation art practice; in area 2 (the second year), I compared studio art practice in the UK with prostration practice at Bodh-gaya, India plus meditation before act activity; in area 3 (the third year), I compared studio art practice in the UK with entering a month-long meditation retreat in Taiwan before practicing art. By Buddhist meditation I refer more specifically to insight meditation, which K. Sri Dhammananda has described as follows: Buddha offers four objects of meditation for consideration: body, feeling, thoughts, and mental states. The basis of the Satipatthana (Pāli, refers to a "foundation" for a "presence" of mindfulness) practice is to use these four objects for the development of concentration, mindfulness, and insight or understanding of our-self and the world around you. Satipatthana offers the most simple, direct, and effective method for training the mind to meet daily tasks and problems and to achieve the highest aim: liberation. (K. Sri II Dhammananda 1987:59) In my own current meditation practice before art practice, I sit in a lotus position and focus on breathing in and breathing out, so that my mind achieves a state of emptiness and calm and my body becomes relaxed yet fully energized and free. When embarking on artistic activity after meditation, the practice of art then emerges automatically from this enhanced body/mind awareness. For an artist from an Eastern culture, this post-meditation art seems to differ from the practices of Western art, even those that seek to eliminate intention (e.g. Pollock), in that the artist‘s action seem to genuinely escape cogito: that is, break free of the rational dimensions of creating art. In my training and development as a studio artist, I applied cogito all the time, but this frequently generated body/mind conflict, which became most apparent after leaving the studio at the end of the day: I always felt exhausted, and what was worse, the art that I created was somehow limited. However, my experience was that Buddhist meditation, when applied before undertaking art practice, establishes body/mind harmony and empties the mind. For this artist at least, this discovery seemed to free my art as it emerged from emptiness through the agency of my energized hand. It was this, admittedly highly personal, experience that led me to undertake the research that informs this thesis.

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LaFountain, Jason David. "The Puritan Art World." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11006.

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In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin's theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture.
History of Art and Architecture

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Books on the topic "Art and theology"

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Visual art as theology. New York: P. Lang, 1994.

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Ponder, Justin. Art Cinema and Theology. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7.

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Theology and modern Irish art. Dublin: Columba Press, 1999.

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Pattison, George. Art, modernity and faith: Towards a theology of art. 2nd ed. London: SCM Press, 1991.

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Art, modernity, and faith: Towards a theology of art. New York: St. Martin's Press, 1991.

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Art, modernity, and faith: Towards a theology of art. Houndmills, Basingstoke, Hampshire: Macmillan, 1991.

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Preaching as local theology and folk art. Minneapolis: Fortress Press, 1997.

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Henry. Summa (Quaestiones ordinariae) art xxxv-xl. Leuven: University Press, 1994.

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John, De Beer, ed. The art of theological reflection. New York: Crossroad, 1994.

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Visual Faith: Art, Theology, and Worship in Dialogue. Grand Rapids, MI: Baker Academic, 2001.

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Book chapters on the topic "Art and theology"

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Worley, Taylor. "Theology and contemporary art." In Memento Mori in Contemporary Art, 1–29. Abingdon, Oxon ; New York : Routledge, 2020. | Series: Routledge studies in theology, imagination and the arts: Routledge, 2019. http://dx.doi.org/10.4324/9780429019753-1.

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Ponder, Justin. "Introduction: The Word was Made Film." In Art Cinema and Theology, 1–24. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_1.

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Ponder, Justin. "“All Is Grace”: Sound and Grace in Robert Bresson’s Diary of a Country Priest." In Art Cinema and Theology, 25–65. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_2.

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Ponder, Justin. "“Life. Yes. Life.”: Editing and Miracles in Carl Theodor Dreyer’s Ordet." In Art Cinema and Theology, 67–113. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_3.

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Ponder, Justin. "“The Whole Earth Is Full of His Glory”: Lighting and Suffering in Ingmar Bergman’s Winter Light." In Art Cinema and Theology, 115–60. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_4.

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Ponder, Justin. "“No One Must Know of This”: Close-up and Heresy in Luis Buñuel’s The Milky Way." In Art Cinema and Theology, 161–201. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_5.

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Ponder, Justin. "Conclusion: … And Dwelt Among Us." In Art Cinema and Theology, 203–9. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58556-7_6.

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Redell, Petra Carlsson. "Introduction." In Foucault, Art, and Radical Theology, 1–19. New York : Routledge, 2018. | Series: Routledge new critical thinking in religion, theology, and biblical studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429445170-1.

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Redell, Petra Carlsson. "The surface of appearances." In Foucault, Art, and Radical Theology, 20–35. New York : Routledge, 2018. | Series: Routledge new critical thinking in religion, theology, and biblical studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429445170-2.

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Redell, Petra Carlsson. "Velázquez." In Foucault, Art, and Radical Theology, 36–52. New York : Routledge, 2018. | Series: Routledge new critical thinking in religion, theology, and biblical studies: Routledge, 2018. http://dx.doi.org/10.4324/9780429445170-3.

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Conference papers on the topic "Art and theology"

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Isbasoiu, Iulian. "Representations of God in Icons. Immanence and Transcendence in Christian Art." In The concepts of "transcendence" and "immanence" in the Philosophy and Theology. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2016. http://dx.doi.org/10.18638/dialogo.2015.2.2.14.

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Istodor, Gheorghe. "Contemporary challenges to the Church Mission from the perspective of post-modern art and technology." In The 2nd Virtual International Conference on the Dialogue between Science and Theology. EDIS - Publishing Institution of the University of Zilina, Slovak Republic, 2015. http://dx.doi.org/10.18638/dialogo.2015.2.1.27.

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Kondrla, Peter. "APOPHATIC THEOLOGY IN ISLAM, JUDAISM AND CHRISTIANITY." In 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s11.067.

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Fadaie, Gholamreza. "The Influence of Classification on World View and Epistemology." In InSITE 2008: Informing Science + IT Education Conference. Informing Science Institute, 2008. http://dx.doi.org/10.28945/3279.

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Worldview as a kind of man's look towards the world of reality has a severe influence on his classification of knowledge. In other words one may see in classification of knowledge the unity as well as plurality. This article deals with the fact that how classification takes place in man's epistemological process. Perception and epistemology are mentioned as the key points here. Philosophers are usually classifiers and their point of views forms the way they classify things and concepts. Relationship and how one looks at it in shaping the classification scheme is critical. The classifications which have been introduced up to now have had several models. They represent the kind of looking at, or point of view of their founders to the world. Aristotle, as a philosopher as well as an encyclopedist, is one of the great founders of knowledge classification. Afterwards the Islamic scholars followed him while some few rejected his model and made some new ones. If we divide all classifications according to their roots we may define them as human based classification, theology based classification, knowledge based classification, materialistic based classification such as Britannica's classification, and fact based classification. Tow broad approaches have been defined in this article: static and dynamic. The static approach refers to the traditional approaches and the dynamic one refers to the eight way of looking toward objects in order to realize them. The structure of classification has had its influence on epistemology, too. If the first cut on knowledge tree is fully defined, the branches would usually be consistent with it.

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McCartney, Patrick. "Sustainably–Speaking Yoga: Comparing Sanskrit in the 2001 and 2011 Indian Censuses." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-5.

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Sanskrit is considered by many devout Hindus and global consumers of yoga alike to be an inspirational, divine, ‘language of the gods’. For 2000 years, at least, this middle Indo-Aryan language has endured in a post-vernacular state, due, principally, to its symbolic capital as a liturgical language. This presentation focuses on my almost decade-long research into the theo-political implications of reviving Sanskrit, and includes an explication of data derived from fieldwork in ‘Sanskrit-speaking’ communities in India, as well as analyses of the language sections of the 2011 census; these were only released in July 2018. While the census data is unreliable, for many reasons, but due mainly to the fact that the results are self reported, the towns, villages, and districts most enamored by Sanskrit will be shown. The hegemony of the Brahminical orthodoxy quite often obfuscates the structural inequalities inherent in the hierarchical varṇa-jātī system of Hinduism. While the Indian constitution provides the opportunity for groups to speak, read/write, and to teach the language of their choice, even though Sanskrit is afforded status as a scheduled (i.e. recognised language that is offered various state-sponsored benefits) language, the imposition of Sanskrit learning on groups historically excluded from access to the Sanskrit episteme urges us to consider how the issue of linguistic human rights and glottophagy impact on less prestigious and unscheduled languages within India’s complex linguistic ecological area where the state imposes Sanskrit learning. The politics of representation are complicated by the intimate relationship between consumers of global yoga and Hindu supremacy. Global yogis become ensconced in a quite often ahistorical, Sanskrit-inspired thought-world. Through appeals to purity, tradition, affect, and authority, the unique way in which the Indian state reconfigures the logic of neoliberalism is to promote cultural ideals, like Sanskrit and yoga, as two pillars that can possibly create a better world via a moral and cultural renaissance. However, at the core of this political theology is the necessity to speak a ‘pure’ form of Sanskrit. Yet, the Sanskrit spoken today, even with its high and low registers, is, ultimately, various forms of hybrids influenced by the substratum first languages of the speakers. This leads us to appreciate that the socio-political components of reviving Sanskrit are certainly much more complicated than simply getting people to speak, for instance, a Sanskritised register of Hindi.

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