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Journal articles on the topic 'Art and theology'

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Published: 4 June 2021
Last updated: 1 February 2022

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1

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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2

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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3

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

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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Madden, Nicholas. "Book Reviews: Theology and Art." Irish Theological Quarterly 65, no. 4 (December 2000): 378–81. http://dx.doi.org/10.1177/002114000006500415.

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12

Vicelja, Marina. "On the Contextual Art Theology." IKON 3 (January 2010): 417–18. http://dx.doi.org/10.1484/j.ikon.3.99.

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13

O'kane, Martin. "Book Review: Theology and Art." Expository Times 118, no. 4 (January 2007): 199. http://dx.doi.org/10.1177/0014524606074409.

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14

Bates, J. B. "Book Reviews : Theology, Beauty, and Art." Expository Times 111, no. 12 (September 2000): 429–31. http://dx.doi.org/10.1177/001452460011101238.

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15

Woodward, James. "Art as Theology – By Andreas Andreopoulos." Reviews in Religion & Theology 15, no. 3 (July 2008): 359. http://dx.doi.org/10.1111/j.1467-9418.2008.00389_2.x.

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16

Borgman, Erik. "Theology as the Art of Liberation." Exchange 32, no. 2 (2003): 98–108. http://dx.doi.org/10.1163/157254303x00172.

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17

Zordan, Davide, and Stefanie Knauss. "Following the Traces of God in Art: Aesthetic Theology as Foundational Theology." CrossCurrents 63, no. 1 (March 2013): 4–8. http://dx.doi.org/10.1111/cros.12009.

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18

Pocock, D. F. "Art and Theology in the Bhāgavata Purāna." Contributions to Indian Sociology 19, no. 1 (January 1985): 9–39. http://dx.doi.org/10.1177/006996685019001003.

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19

Studzinski, Raymond. "Tutoring the Religious Imagination: Art and Theology as Pedagogues." Horizons 14, no. 1 (1987): 24–38. http://dx.doi.org/10.1017/s036096690003704x.

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AbstractThis essay presents a psychological approach to understanding the creative functioning of imagination in art and religion. This approach drawn from psychoanalytic object relations theory further illuminates how the classics of art and theology engage the imagination and how distortions of the products of the creative imagination occur. Discussion of a particular innovative theme found in an artwork and related theological reflection in early Christianity exemplifies how both art and theology guide the religious imagination. Finally, various influences on the formation of personal God-imagery are assessed in the light of a case illustration, and the ongoing need for art and theology as tutors to the religious imagination is underscored.
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20

Ene D-Vasilescu, E. "Aspects of Iconography in Byzantine Cappadocia." European Journal of Theology and Philosophy 1, no. 4 (August 17, 2021): 34–39. http://dx.doi.org/10.24018/theology.2021.1.4.35.

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The main novelty my article brings concerns a particular iconographic motif: that known as the ‘trial by the water of reproach’. In the few cases where this is rendered, usually only Mary is presented as undergoing this test, but in Cappadocian art Joseph is also subjected to it. Additionally, to this visual topic, another one that is rarely depicted will be introduced and commented upon: that known as ‘Christ’s first bath’. I will provide a particular example: the fresco which constitutes part of the decoration that embellishes the walls of Karabaş Kilise/ ‘The Big Church’ in Soğanlı Valley, southern Cappadocia. A few images – one of them never published before – have been included within this publication.
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21

Swoboda, Ulrike. "Reaching Invariables: Between Theology, Anthropology and Christology." Review of Ecumenical Studies Sibiu 8, no. 3 (December 1, 2016): 372–90. http://dx.doi.org/10.1515/ress-2016-0027.

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Abstract The article deals with pictures of God and humans in relation to Art (Artificial Reproductive Technologies). Although sexuality and Art are connected issues the sexual attribute of humans is somehow missing in documents of protestant churches trying to define Christian anthropology. The purpose of this article is to compare two documents of two member churches of Cpce (Community of Protestant Churches in Europe) in respect of Gen 1,26–27 (the creation of men in the image of God) while dealing with the ethical challenges of Art.
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22

Holloway, Julia Bolton. "Julian of Norwich: Autobiography and Theology by Christopher Abbot." Arthuriana 9, no. 4 (1999): 116–17. http://dx.doi.org/10.1353/art.1999.0009.

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23

Snyder, Andrew. "David A. Covington. A Redemptive Theology of Art." Toronto Journal of Theology 36, no. 1 (August 2020): 114–15. http://dx.doi.org/10.3138/tjt-2020-0052.

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24

Tănase, Nichifor. "THE “HESYCASTIC” MANDORLA: APOPHATIC ART AND HESYCHAST THEOLOGY." Altarul Reîntregirii, Suplim.1 (2017): 325–38. http://dx.doi.org/10.29302/ar.2017.suplim.1.24.

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25

Haleblian, Krikor G. "Art, Theology, and Contextualization: The Armenian Orthodox Experience." Missiology: An International Review 32, no. 3 (July 2004): 309–35. http://dx.doi.org/10.1177/009182960403200303.

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26

Hamburger, J. F. "Earthly Visions: Theology and the Challenge of Art." Common Knowledge 18, no. 3 (August 23, 2012): 547–48. http://dx.doi.org/10.1215/0961754x-1630469.

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27

Kim, Namji. "The Art of Parody in Music and Theology." Religion and the Arts 22, no. 3 (June 17, 2018): 335–45. http://dx.doi.org/10.1163/15685292-02203004.

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28

MacKenzie, Caroline. "Liberation and Imagination: Art, Theology and Women's Experience." Feminist Theology 3, no. 8 (January 1995): 9–19. http://dx.doi.org/10.1177/096673509500000802.

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29

Jefferson, Lee M. "Picturing Theology: A Primer on Early Christian Art." Religion Compass 4, no. 7 (June 27, 2010): 410–25. http://dx.doi.org/10.1111/j.1749-8171.2010.00226.x.

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30

Brouwer, Rein. "Theology, Perhaps." International Journal of Public Theology 9, no. 4 (October 30, 2015): 428–45. http://dx.doi.org/10.1163/15697320-12341415.

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A public (practical) theology is about recognizing religious phenomena in (popular) culture and society, and reflecting on these phenomena from a theological perspective. There is a lot of G/god in the public domain, so one could assume that ‘the fields are white for harvest already’ (John 4:35), theologically speaking. References to biblical stories and figures abound in art and culture and religious themes and questions are the subject of movie pictures and media attention. Theologians are well suited to interpret these public phenomena because they have access to a huge database of concepts, narratives and practices to make meaning from this fragmented G/god in public domain. But what sort of G/god are we talking about? This paper explores John Caputo’s theopoetics as a model for a public theology. Caputo’s theology is presented as a way of tracing God, perhaps, in a product of popular culture.
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31

Cairovic, Ivica. "Aachen - new Rome, new Constantinople?" Zbornik Matice srpske za drustvene nauke, no. 157-158 (2016): 533–43. http://dx.doi.org/10.2298/zmsdn1658533c.

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This study examines a new, assumed thesis that Aachen in the 9th century - at least for a few years - became new Rome and new Constantinople. So, Aachen became a new center in Europe in the most important aspects - culture, art and theology. As the center of Carolingian culture and theology, the town became the center of the part of Europe ruled by Emperor Charles the Great. This study also discusses that new Frankish culture, Frankish art and Frankish theology were created in Aachen, and because of that it became new Rome and new Constantinople.
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32

Marsh, Clive. "Rembrandt Reads the Gospels: Form, Context and Theological Responsibility in New Testament Interpretation." Scottish Journal of Theology 50, no. 4 (November 1997): 399–413. http://dx.doi.org/10.1017/s0036930600049735.

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Art is part of the history of the church, and relates to spirituality and to the practical expression of Christian faith. It illustrates theological loci and biblical themes. Often, the art which fulfils this function does so with the conscious intent of the artist; sometimes not. Attempts have been made, however, to argue that art not only illustrates theology, but also contributes to it. Even so, systematic theologians and biblical scholars — when they do talk to each other — still converse on the basis of largely word-centred approaches to their tasks. I am neither systematic theologian nor biblical scholar, precisely because I attempt to keep a foot in both camps. I am even less of an art critic. Yet it is clear that in the world of art there is a whole area of exploration yet to be ventured into not only historically (have we really sufficiently explored how biblical interpretation and doctrinal theology have been influenced by art?) but also from the perspective of constructive theology (what contribution can art past and present make to the very reformulation and expansion of Christian doctrine?). This paper offers a brief reading of three paintings by Rembrandt, of the Emmaus Road story in Luke 24.13–35. The theological significance of the changing interpretations of the passage is drawn out and the implications of the use of the paintings, in terms of the creative use of the Bible in Christian theology.
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33

Woggon, Frank Milstead. "Deliberate Activity as an Art for (Almost) Everyone: Friedrich Schleiermacher on Practical Theology." Journal of Pastoral Care 48, no. 1 (March 1994): 3–13. http://dx.doi.org/10.1177/002234099404800102.

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Examines Friedrich Schleiermacher's approach to practical theology, and, after listening critically to this historical voice, draws some conclusions for a contemporary understanding of pastoral theology as a discipline.
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34

Perkins, Miriam Y. "Islamic Images of Isa/Jesus in the Chester Beatty Manuscript Collection: Visual Art as Framework for Comparative Christology." Religion and the Arts 16, no. 5 (2012): 488–506. http://dx.doi.org/10.1163/15685292-12341236.

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Abstract Textual analysis has served as a paradigmatic approach to comparative theology for some time while analysis through artistic and visual media has received less attention. Most approaches to comparative theology rely on textual comparison of sacred texts. However, visual art is also a compelling way to engage in comparative theology and specifically comparative Christology. To demonstrate the power of visual art as a tool for comparative theology, I draw upon two recently published sixteenth-century Islamic images of Isa/Jesus from the Chester Beatty manuscript collection to illustrate how artwork can structure the work of comparative Christology by providing an entry point into Islam’s aesthetic tradition and relevant sacred texts. Paul Ricoeur’s theory of textual interpretation provides a theoretical framework, and I draw upon and extend his theory to describe the way visual art can initiate the interpretive process and move us through explanation toward understanding of another religious tradition, which in turn has the potential to transform theological reflection and generate theological insight.
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35

Westphal, Euler R. "Exodus and liberation theology." Zeitschrift für Pädagogik und Theologie 73, no. 3 (August 30, 2021): 280–92. http://dx.doi.org/10.1515/zpt-2021-0033.

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Zusammenfassung Die Befreiungstheologie entstand als Antwort auf die Strukturen der politischen, sozialen und kulturellen Unterdrückung in Lateinamerika. Die Befreiungstheologie formulierte als eine Art historischer Imperativ, dass der christliche Glaube keine Unterdrückungen erzeugen darf. Im Gegenteil: Der christliche Glaube muss Mechanismen zur Überwindung von Unterdrückung fördern. Entsprechend ist die Option für die Armen der Ausgangspunkt dieser Theologie. Das Buch Exodus ist dabei ein Schlüssel, um die Verbindung von theologischem Denken und gemeindlicher Praxis in den Blick zu nehmen.
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36

Gulo, Manase. "SKETSA GLOCAL THEOLOGY." Manna Rafflesia 6, no. 2 (April 30, 2020): 135–57. http://dx.doi.org/10.38091/man_raf.v6i2.113.

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Local theology is a model of theology that existed in postmodernism that emphasized the theology of the local cultural context. It means emphasize the efforts to meet church traditions and Christian themes with the reality of the life of the people around them. Simple theology always understands local sources which consist of local rituals, everyday language, folk songs, proverbs and art buildings. By using these elements means a theologian theologically contextually. The theologian was present and lived with people and listened to their voices. In this case, the simple theology seeks to respect and use the wisdom that is in the local culture, so that local people can easily interpret that wisdom in the light of the Gospel. Therefore this article will contribute a thought on how to build a sketch of Glocal theology.
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37

Thiessen, G. E. "Searching for God: Theology, Imagination, Beauty and the Arts." Acta Theologica Supp, no. 29 (November 30, 2020): 28–36. http://dx.doi.org/10.18820/23099089/actat.sup29.2.

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This article offers a brief introduction on the development of, and key themes in the dialogue and interdisciplinary subject of faith, theology and the arts. It includes an outline of how the arts have become a central focus in contemporary theology as well as a historical review of how art is no longer viewed as ancilla theologiae but has its own and equal place regarding theology. Some reflections on the rendering of suffering and the cross in modern art as well as an examination of how the imagination and beauty are vital in the life of faith and in the arts conclude the article.
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38

Tan, Sylvester George. "Perceval’s Unknown Sin: Narrative Theology in Chrétien’s Story of the Grail." Arthuriana 24, no. 3 (2014): 129–57. http://dx.doi.org/10.1353/art.2014.0037.

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39

Howes, Graham. "Thomas Crow, No Idols: The Missing Theology of Art." Theology 122, no. 1 (December 21, 2018): 69–71. http://dx.doi.org/10.1177/0040571x18805914r.

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40

Orr, Mary C. "Book Review: Preaching as Local Theology and Folk Art." Interpretation: A Journal of Bible and Theology 53, no. 3 (July 1999): 329. http://dx.doi.org/10.1177/002096439905300334.

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41

Graves, Mike. "Book Review: Preaching as Local Theology and Folk Art." Review & Expositor 96, no. 2 (May 1999): 328–29. http://dx.doi.org/10.1177/003463739909600231.

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42

LITTLE, BRENT. "ANTHROPOLOGY AND ART IN THE THEOLOGY OF KARL RAHNER1." Heythrop Journal 52, no. 6 (August 3, 2011): 939–51. http://dx.doi.org/10.1111/j.1468-2265.2011.00691.x.

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43

Sakhno, Irina. "Kazimir Malevich’s Negative Theology and Mystical Suprematism." Religions 12, no. 7 (July 16, 2021): 542. http://dx.doi.org/10.3390/rel12070542.

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This article examines Kazimir Malevich’s Suprematist art in the context of negative (apophatic) theology, as a crucial tool in analyzing both the artist’s theoretical conclusions and his new visual optics. Our analysis rests on the point that the artist intuitively moved towards recognizing the ineffability of the multidimensional universe and perceiving God as the Spiritual Absolute. In his attempt to see the invisible in the formulas of Emptiness and Nothingness, Malevich turned to the primary forms of geometric abstraction—the square, circle and cross—which he endows with symbolic concepts and meanings. Malevich treats his Suprematism as a method of perceiving the ineffability of the Absolute. With the Black Square seen as a face of God, the patterns of negative theology rise to become the philosophical formula of primary importance. Malevich’s Mystical Suprematism series (1920–1922) confirms the presence of complex metaphysical reflection and apophatic thought in his art. Not only does the series contain icon paraphrases and the Christian symbolism of the cross and mandorla, but it also advances the formulas of the apophatic faith of the modern times, since Suprematism presents primary forms as the universals of “the face of the future” and the energy of the non-objective art.
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44

Rock, Judith. "The Jesuit College Ballets: What We Know and What’s Next." Journal of Jesuit Studies 4, no. 3 (June 1, 2017): 431–52. http://dx.doi.org/10.1163/22141332-00403004.

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The existence and nature of the seventeenth- and eighteenth-century ballets produced at Jesuit colleges in Catholic Europe, most often in France and German-speaking lands, is better known now, in the United States and in France, than it was several decades ago. Researchers have come to understand much more about the ballets, their motivation and widespread production, and their professionalism. The Jesuit college ballets are a rich nexus of art, theology, philosophy, and culture. Looking again at what we already know reveals questions that need to be addressed in future research. The most fruitful future research is likely to come from scholars committed to interdisciplinary work, including some physical understanding of dance as an art form. As with any phenomenon involving the meeting of an art form and theology, historians of the art form and historians of the theology tend to know and be interested in very different things. And their colleagues, historians of culture, may be interested in yet something else. As scholars approach a variety of possible future Jesuit college ballet projects, this interdisciplinary challenge can illumine more completely the commitments and intentions of the ballets’ Jesuit producers, as well as the ballets’ influence on their surrounding cultures, and the cultures’ shaping of the ballets.
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45

Clay, Megan. "Abundant Body Narratives: Re-Visioning the Theological Embodiment of Women through Feminist Theology and Art as a Way of Flourishing." Feminist Theology 25, no. 3 (May 2017): 248–56. http://dx.doi.org/10.1177/0966735017693969.

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One of my projects as a Research Fellow for The Institute for Theological Partnerships (ITP) at the University of Winchester is the Feminist Theology and Art Forum. This project was born out of my Doctoral thesis which combines both art and feminist liberation theologies. Thus creating a methodology in which art as language gives voice to women’s experience within the theological world. The Forum so far has opened a window of opportunity for female artists and feminist theologians alike to exhibit visual artwork that demonstrates their incarnational experience through the concept of Christ/a and Mary/Miriam from a feminist theological perspective. There have been two exhibitions with a third exhibition this year which will have a feminist ecological/theological theme highlighting the important role that many women globally play in their own wellbeing and flourishing in connection with the Earth/Gaia. This article moves briefly from personal experience, which is where all feminist theology begins, into the wider world of possibilities for women to use both art and feminist theology as a model for expressing another way of speaking their experience theologically, ecologically, socially and politically and in so doing create a space in which they too may flourish.
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46

Magaril-Il’yaeva, Tatiana. "Dostoevsky’s Theology in the Understanding of Berdyaev." Dostoevsky and world culture. Philological journal, no. 3 (2020): 117–39. http://dx.doi.org/10.22455/2619-0311-2020-3-117-139.

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The article analyses the methods used by N. Berdyaev to reveal and present the theological level of Dostoevsky’s works in his book “The Worldview of Dostoevsky” and partly in “The Meaning of the Creative Act”. The article is divided into two parts, as Berdyaev not only describes Dostoevsky’s religious and philosophical system but also founds it on his own idea of the sacred essence of the creative act; this fact leads the philosopher to the necessity of forming a special research method considering the deepest basis of the creative process. The first part of the article is dedicated to Berdyaev’s research method, based on the idea of a true understanding reached through the creative act, that goes beyond art and reveals itself as an expression of the tension and movement of the human spirit searching for Truth. This first part considers the main statements of Berdyaev’s “theory” about the act of creating, underlying (as the philosopher thinks) Dostoevsky’s creative process as a process of an active relationship with God. The article analyses the research method of the author’s spiritual world, described in “Dostoevsky’s worldview”. The second part of the article describes the key moments of Dostoevsky’s theological system, showing how it is similar to every man’s spiritual path – i.e. showing how Berdyaev thinks about the writer’s theology not as a combination of statements about God and the Divine nature, but as a practical method for the man to move towards God and a transfigured nature.
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47

NORTHCOTT, MICHAEL S. "CONCEPT ART, CLONES, AND CO-CREATORS: THE THEOLOGY OF MAKING." Modern Theology 21, no. 2 (April 2005): 219–36. http://dx.doi.org/10.1111/j.1468-0025.2005.00283.x.

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48

Turner, Denys. "The Art of Unknowing: Negative Theology in Late Medieval Mysticism." Modern Theology 14, no. 4 (October 1998): 473–88. http://dx.doi.org/10.1111/1468-0025.00075.

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49

Karim, Ana. "Book Review: Visual Faith: Art, Theology, and Worship in Dialogue." Interpretation: A Journal of Bible and Theology 56, no. 4 (October 2002): 450. http://dx.doi.org/10.1177/002096430005600433.

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50

Rudat, Wolfgang E. H. "Ovid's Art of Love and Augustinian Theology in Paradise Lost." Milton Quarterly 21, no. 2 (May 1987): 62–65. http://dx.doi.org/10.1111/j.1094-348x.1987.tb00711.x.

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