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Journal articles on the topic 'Spiritual in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Kırca, Beyza. "Spiritual Dimension in Art Therapy." Spiritual Psychology and Counseling 4, no. 3 (October 15, 2019): 257–74. http://dx.doi.org/10.37898/spc.2019.4.3.071.

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Spiritually-oriented art therapy interventions are based on a holistic, therapeutic approach that aims to enable people who are in fragmented states to achieve integrity, unity, harmony, and balance by taking all the mental, emotional, physical, and spiritual dimensions of human nature into account using the medium of art and its creative processes. Art is considered intrinsically spiritual by many artists and art therapists, and the history of art and its relationship to treatment is as old as human history; however, open consideration of the spiritual dimension in therapeutic settings, particularly in art therapy interventions, is relatively new. Reviewing the emergence of spiritually-oriented art therapy interventions and their mechanisms of change is considered useful for seeing how they enable holistic transformation. These mechanisms have been determined as self-realization and understanding, transcendence, meaning-making and searching for a purpose, and achieving integrity through the holistic wellbeing approach.

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2

Brown, Karen H. "Spiritual Art of Natal." African Arts 27, no. 1 (January 1994): 78. http://dx.doi.org/10.2307/3337177.

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3

Knowles, Alison, Eleanor Heartney, Meredith Monk, Linda Montano, Erik Ehn, and Bonnie Marranca. "Art as Spiritual Practice." PAJ: A Journal of Performance and Art 24, no. 3 (September 2002): 18–34. http://dx.doi.org/10.1162/15202810260186620.

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4

Tuman, Ludwig. "The Spiritual Role of Art." Journal of Baha’i Studies 4, no. 4 (1992): 59–84. http://dx.doi.org/10.31581/jbs-4.4.4(1992).

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A study of passages from the Bahá’í writings indicates that art can render services of a mystical, moral, and social nature. Such services taken together constitute the spiritual role of art, whose highest purpose is to ennoble the individual soul and the collective life of humanity. When playing such a role, art draws its inspiration from the vision of life unfolded in divine Revelation, harmonizes with the fundamental teachings of the world’s major religions, and seeks to reinforce their original objective, which is to foster spiritual growth and social harmony. In realizing a spiritual role, art employs beauty, whose purpose both in the world of creation and in the realm of human creativity is to attract the soul toward its Creator and to draw it into a spiral or spiritual growth. Art also employs emotion, which can reinforce the various facets of the service art renders.

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5

Barbu, Liviu. "Spiritual Formation as an Art." Journal of Adult Theological Education 9, no. 1 (June 2012): 28–43. http://dx.doi.org/10.1179/ate.9.1.e5144wwv555t0177.

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6

Martin, Hedvig. "Spiritual treasures in Finnish art." Approaching Religion 11, no. 1 (March 20, 2021): 194–6. http://dx.doi.org/10.30664/ar.99492.

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7

Baigell, Matthew. "Robert Kirschbaum’s Art: Abstract, Intellectual, Spiritual." Ars Judaica: The Bar Ilan Journal of Jewish Art 11 (May 2015): 79–90. http://dx.doi.org/10.3828/aj.2015.5.

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8

Arya, Rina. "Encountering the spiritual in contemporary art." Journal for the Study of Spirituality 9, no. 2 (July 3, 2019): 173–74. http://dx.doi.org/10.1080/20440243.2019.1658269.

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9

Renzenbrink, Irene. "Art Therapy, Healing and Spiritual Growth." Journal for the Study of Spirituality 2, no. 2 (January 2012): 203–15. http://dx.doi.org/10.1179/jss.2.2.a0m0t70078330q00.

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10

Iyer, Jayashree. "Spiritual Art Therapy: An Alternate Path." Art Therapy 14, no. 2 (April 1997): 132–34. http://dx.doi.org/10.1080/07421656.1987.10759270.

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11

Nasirov Azimiddin Normamatovich. "Expression of spiritual experiences in art." International Journal on Integrated Education 3, no. 11 (November 26, 2020): 181–82. http://dx.doi.org/10.31149/ijie.v3i11.881.

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The artistic interpretation of the human spirit in a work of art is analyzed on the example of the works of later years. The article focuses on the analysis of the heartache, the contradictions in the inner world, based on the story of the fugitive Norqobil, which describes the realities of the Afghan war. During the analysis, the influence of time and environment on the occurrence of conflicts in the human heart was highlighted.

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12

Scheffert, Aynsley. "Spiritual art therapy: an alternate path." Journal of Religion, Spirituality & Aging 32, no. 1 (August 13, 2019): 114–15. http://dx.doi.org/10.1080/15528030.2019.1653417.

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13

Feen-Calligan, Holly. "Spiritual art therapy: An alternate path." Arts in Psychotherapy 23, no. 2 (January 1996): 179–81. http://dx.doi.org/10.1016/0197-4556(96)00008-1.

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14

Mynatt, Garrett. "Review of "Spiritual Art and Art Education," by Janis Lander." Journal of Arts Management, Law, and Society 46, no. 2 (March 14, 2016): 90–91. http://dx.doi.org/10.1080/10632921.2015.1069230.

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15

White, Richard J. "Kandinsky." Religion and the Arts 23, no. 1-2 (March 25, 2019): 26–49. http://dx.doi.org/10.1163/15685292-02301002.

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Abstract In Concerning the Spiritual in Art (1911) and other writings, the artist Wassily Kandinsky (1866–1944) pursues several guiding questions concerning the spiritual aspects of art. For example: What is the relationship between art and spirituality? How does a work of art express spiritual ideas and themes? And would it be helpful to think of the artist as a kind of visionary or a spiritual seer? In this article, I reconstruct Kandinsky’s theory of art and I clarify his understanding of what spirituality is. Then I return to the three guiding questions listed above to consider the relationship between art and spirituality in the light of Kandinsky’s views. I argue that both Kandinsky’s writings and his paintings help to illuminate the spiritual dimension of art, and his pioneering text, Concerning the Spiritual in Art, remains an important starting-point for reflections on this theme.

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16

Ibragimova, Farida. "Content, Structure, Functions Of Art Culture." American Journal of Social Science and Education Innovations 03, no. 03 (March 27, 2021): 275–80. http://dx.doi.org/10.37547/tajssei/volume03issue03-41.

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17

Rice, James L., and George A. Panichas. "Dostoevsky's Spiritual Art: The Burden of Vision." Slavic and East European Journal 49, no. 2 (July 1, 2005): 316. http://dx.doi.org/10.2307/20058270.

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18

Wright, Steve. "Holy Listening-The Art of Spiritual Direction?" Nursing Standard 18, no. 14 (December 17, 2003): 27. http://dx.doi.org/10.7748/ns.18.14.27.s46.

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19

Hamilton-Hohf, Sandra. "Jacqueline Jackson: Art as a Spiritual Unfoldment." Woman's Art Journal 26, no. 1 (2005): 15. http://dx.doi.org/10.2307/3566529.

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20

Kateb, Fatemeh. "Spiritual Art: A Study of Illuminated Drawings." Journal of History Culture and Art Research 6, no. 6 (December 23, 2017): 221. http://dx.doi.org/10.7596/taksad.v6i6.1207.

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21

Marcheschi, Elena. "A spiritual journey in Bill Viola’s art." NECSUS. European Journal of Media Studies 3, no. 2 (December 31, 2014): 245–51. http://dx.doi.org/10.5117/necsus2014.2.marc.

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22

Arya, Rina. "Contemplations of the Spiritual in Visual Art." Journal for the Study of Spirituality 1, no. 1 (May 23, 2011): 76–93. http://dx.doi.org/10.1558/jss.v1i1.76.

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23

Dillenberger, Jane. "Spiritual Presence in Art, Past and Present." Review & Expositor 87, no. 4 (December 1990): 579–84. http://dx.doi.org/10.1177/003463739008700405.

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24

Campbell, Laurel H. "Spiritual Reflective Practice in Preservice Art Education." Studies in Art Education 47, no. 1 (October 2005): 51–69. http://dx.doi.org/10.1080/00393541.2005.11652813.

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25

Prochaska, Harry. "The Spiritual in Twentieth Century Art Roger Lipsey .An Art of Our Own: The Spiritual in Twentieth Century Art. Boston, Shambhala, 1989." San Francisco Jung Institute Library Journal 10, no. 3 (September 1991): 61–69. http://dx.doi.org/10.1525/jung.1.1991.10.3.61.

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26

M, M. Farkhan. "SENI SPIRITUAL DALAM KONSEPSI ESTETIKA SEYYED HOSSEIN NASR." Jurnal CMES 6, no. 2 (June 14, 2017): 136. http://dx.doi.org/10.20961/cmes.6.2.11706.

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This article describes a method of spiritual dimension in understanding the nature of<br />art. One of the ideas that emerged in the art world is the idea of the spiritual art<br />conceived by Seyyed Hossein Nasr. Art is a spiritual view of creativity that once a form of<br />art presupposes that actually has the dimensions or viewpoints that are not one-sided but<br />two-way, i.e. physical viewpoint or exoteric and esoteric spiritual viewpoint. <br /><br /> This study was conducted based on the hermeneutic readings to the texts of religious<br />thought. The purpose is to find an aesthetic view of the artwork that builds upon religious<br />values and how spiritual art form in the light of faith is placed in human life maqam<br />among other arts. Spiritual art is not a choice but something that exists, which should be<br />read through physical knowledge that real empirical.

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27

Kraly, Ellen Percy, and Ezzard Flowers. "Mobilizing a “Spiritual Geography”." Transfers 6, no. 1 (March 1, 2016): 103–9. http://dx.doi.org/10.3167/trans.2016.060109.

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As a result of removal and custody of Noongar children from their families and lands—forced mobilities and immobilties over decades, and within days and nights—a distinctive and beautiful artistic heritage emerged. Th is material heritage, too, was moved through and from Noongar country. Illustrated by the art of Carrolup, the culture and identity of the Noongar people has been transcendent and a “spiritual geography” mapped. As “heart returns home” to Noongar country, there are opportunities for new approaches to the reconciliation of the past for the future. Th e beauty of the art and the story of Carrolup teach, inspire, and provoke. Th ese mobilities and immobilities hold lessons that continue to travel.

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28

Arya, Rina. "Reflections on the Spiritual in Rothko." Religion and the Arts 20, no. 3 (2016): 315–35. http://dx.doi.org/10.1163/15685292-02003003.

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Much has been made of the metaphysical aspects of Mark Rothko’s abstract art, especially his classic works of the 1950s and the Seagram murals. The claims for the spirituality of Rothko’s work are by no means unique either to his art or to art in general. Indeed there are many people who probe cultural forms, such as art, in order to reflect on life and broader questions that can be classed as spiritual concerns. The “revelations” that Rothko’s classic works give rise to, as described by visitors and commentators alike, reflect this phenomenon, and, taking this view further, explain why secular institutions such as art galleries can be spaces for spiritual experience. Rothko presents an interesting case as his work can be understood as spiritual in a broadly numinous way with recourse to the concepts of the sublime and the mystical as well as reflecting aspects of his Jewish identity. The intention of this article is to discuss the different spiritual aspects of Rothko’s work, particularly of his later career, in order to argue for the coexistence of these different strands, as well as to show the progression of his ideas.

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29

Atkinson, Maggie. "Healing Vibrations through Visionary Art." Religion and the Arts 19, no. 4 (2015): 339–88. http://dx.doi.org/10.1163/15685292-01904003.

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Nineteenth-century visionary artist Georgiana Houghton believed in the healing qualities of her art, and she educated religious teachers and clergy about the nature of her spiritual images. This article examines Houghton’s mediumistic paintings and seeks to demonstrate how her experimentation with vibrant colors and manipulation of form prefigured early modernist painting techniques. In addition, this analysis expands on how Houghton transformed her knowledge of the tenets of Spiritualism, which she amalgamated with her understanding of the science of botany to produce flower form spiritual portraits that she later developed into complex visionary abstracted pictures.

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30

Kumari, Kanchan. "SPIRITUAL HAPPINESS IN MALWA MINIATURE PAINTINGS STYLE." ShodhKosh: Journal of Visual and Performing Arts 2, no. 2 (September 23, 2021): 34–47. http://dx.doi.org/10.29121/shodhkosh.v2.i2.2021.28.

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English - All the arts are result of human nature & Beauty. one of the ancient primitive art and the cultured art and on the other hand, the development of folk art takes place. Folk art often consists of religious narratives, religious traditions, religious symbols and a part from fictional mythological events, social festivals and social beliefs are based on the background. Art is incomplete without each other in terms of folk art and classical art. These two forces are complementary to each other. This most of the paintings of our Indian miniature painting style are based on poems and literature. The miniature paintings of Malwa are for spiritual enjoyment, it is a reflection of its civilization and culture, in which The people there are not able to see the spirit of life. important various elements of Malwa miniature painting style of folk art For many subjects (literature) such as Kalpasutra, Ramayana, Mahabharata, Devi Mahatmaya, Bustan of Saadi are based on. that are spiritual and historical respectively. Pictures based on poems are made on enchantment/affairs (Radha Krishna) and Nayika Bhed respectively. In The subjects of the pictures are like- Rasik Priya, Barhamasa, Ragamala, Rasaveli. In which we get the elements of art, human figures, nature Illustrations are visible through colour, line, form, tone, texture, space in architectural marking. Bhakti and yoga in Indian Art along with this, special emphasis was placed on the expression of emotion, due to which the art of Malwa remained intact. Folk art traditions contained in Malwa Miniatures are still prevalent in villages and cities and in many museums. It is safe and people have unwavering faith in these folk traditions. Hindi - सम्पूर्ण कलाऐं मनुष्य की सौन्दर्यवृत्ति का परिणाम है। प्राचीन आदिम कला में से एक ओर सुसंस्कृत कला का और दूसरी ओर लोककला का विकास होता है। लोककला प्रायः धार्मिक आख्यानों, धार्मिक परम्पराओं, धार्मिक प्रतीकों एवं काल्पनिक पौराणिक प्रसंगों के अतिरिक्त सामाजिक त्यौहारों तथा सामाजिक मान्यताओं की पृष्ठभूमि पर आधारित होती है। लोककला और शास्त्रीय कला दोनों ही कला एक दूसरे के बिना अधूरी है। ये दोनों ही एक दूसरे के पूरक है। इसी सन्दर्भ में हमारी भारतीय लघु चित्रशैली के अधिकांश चित्रों के विषय काव्यों तथा साहित्य (ग्रन्थों) पर आधारित है। मालवा की लघु चित्रकला आध्यात्मिक आनन्द को लिए हुए है, उसकी सभ्यता और संस्कृति का वह प्रतिबिम्ब है, जिसमें वहाँ के जन जीवन की आत्मा के दर्शन होते हैं। मालवा लघुचित्र शैली के चित्र लोककला के विभिन्न महत्वपूर्ण तत्व लिए कई विषय (साहित्य) जैसे- कल्पसूत्र, रामायण, महाभारत, देवी महात्मय, बुस्तान आफ सादी पर आधारित है। जो क्रमशः आध्यात्मिक और ऐतिहासिक है। काव्यों पर आधारित चित्र क्रमशः प्रेमकथाओं तथा नायिका भेद पर बने है। इन चित्रों के विषय जैसे- रसिक प्रिया, बारहमासा, रागमाला, रसवेली है। जिसमें हमें लोककला के तत्व मनुष्याकृतियों, प्रकृति चित्रण, स्थापत्य अंकन में रंग, रेखा, रूप, तान, पोत, अन्तराल के द्वारा दृष्टिगोचर होते है। भारतीय कला में भक्ति एवं योग के साथ-साथ भाव की अभिव्यक्ति की ओर विशेष जोर दिया गया, जिसके कारण मालवा की कला भी अक्षुण बनी रही। मालवा लघुचित्रों में समाहित लोककला परम्परायें आज भी गाँव व शहरों में प्रचलित हैं और कई संग्रहालयों में सुरक्षित है तथा इन लोक परम्पराओं पर लोक मानस की अटूट श्रृद्धा है।

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31

Nolan, Steve. "Art of living, art of dying: spiritual care for a good death." Practical Theology 11, no. 2 (March 15, 2018): 197–99. http://dx.doi.org/10.1080/1756073x.2018.1459123.

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32

WRIGHT, Wendy M. "Salesian Spirituality and the Art of Spiritual Direction." Studies in Spirituality 6 (January 1, 1996): 194–219. http://dx.doi.org/10.2143/sis.6.0.2004153.

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33

Potkay, Adam. "Olaudah Equiano and the Art of Spiritual Autobiography." Eighteenth-Century Studies 27, no. 4 (1994): 677. http://dx.doi.org/10.2307/2739447.

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34

Cohen, A. "Spiritual Seeing: Picturing God's Invisibility in Medieval Art." Common Knowledge 8, no. 1 (January 1, 2002): 211—a—212. http://dx.doi.org/10.1215/0961754x-8-1-211-a.

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35

Roelstraete, Dieter. "Great Transformations: On the Spiritual in Art, Again." Afterall: A Journal of Art, Context and Enquiry 20 (April 2009): 5–15. http://dx.doi.org/10.1086/aft.20.20711727.

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36

Espinel, C. H. "Exploring the Invisible: Art, Science, and the Spiritual." JAMA: The Journal of the American Medical Association 290, no. 13 (October 1, 2003): 1781–82. http://dx.doi.org/10.1001/jama.290.13.1781.

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37

Slattery, Dennis Patrick. "Reviews: The Burden of Vision: Dostoevsky's Spiritual Art." Christianity & Literature 37, no. 1 (December 1987): 79–80. http://dx.doi.org/10.1177/014833318703700119.

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38

HAHL-FONTAINE, JELENA. "THE VERSIONS OF ON THE SPIRITUAL IN ART." Experiment 8, no. 1 (2002): 41–51. http://dx.doi.org/10.1163/2211730x02x00075.

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39

Gullickson, Terri. "Review of Spiritual Art Therapy: An Alternate Path." Contemporary Psychology: A Journal of Reviews 40, no. 8 (August 1995): 810. http://dx.doi.org/10.1037/003925.

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40

Saxbee, John. "Art and spiritual experience: exploring the romantic period." Rural Theology 17, no. 1 (January 2, 2019): 66–67. http://dx.doi.org/10.1080/14704994.2019.1585118.

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41

Gratza, Agnieszka. "Spiritual Nourishment: Food and Ritual in Performance Art." PAJ: A Journal of Performance and Art 32, no. 1 (January 2010): 67–75. http://dx.doi.org/10.1162/pajj.2010.32.1.67.

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42

Kokkinen, Nina, and Ruth Illman. "Seekers of the spiritual art and higher wisdom." Approaching Religion 11, no. 1 (March 20, 2021): 1–3. http://dx.doi.org/10.30664/ar.103023.

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Editorial of Approaching Religion, Vol. 11 Issue 1, based on a two-day seminar arranged in Helsinki in August 2020 by the Signe and Ane Gyllenberg Foundation under the title ‘Clear-sighted Art – Open Mind? Encounters between Art and Esotericism’.

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43

Verdon, Timothy. "Art and the Liturgy." Interpretation: A Journal of Bible and Theology 61, no. 4 (October 2007): 359–74. http://dx.doi.org/10.1177/002096430706100402.

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Art in the service of the liturgy becomes part of a proclamation that is also an encounter—with the sacraments, the signs of salvation, and new life instituted by Christ. Art associated with the liturgy illuminates and announces spiritual transformation.

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44

LEEMyung-Gon. "“The spiritual” and “creative act” in abstract art and questions about beauty." Studies in Philosophy East-West ll, no. 85 (September 2017): 469–92. http://dx.doi.org/10.15841/kspew..85.201709.469.

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45

Novikova, Marina Mikhailovna. "Art as a Cultural Text." Interactive science, no. 6 (52) (August 20, 2020): 27–30. http://dx.doi.org/10.21661/r-551603.

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The article examines the relationship between cultural and artistic cycles, defines the significance of art in the spiritual formation of civilization, and gives a cultural assessment of stylistic models of artistic creativity.

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46

Ettun, Rachel, Michael Schultz, and Gil Bar-Sela. "Transforming Pain into Beauty: On Art, Healing, and Care for the Spirit." Evidence-Based Complementary and Alternative Medicine 2014 (2014): 1–7. http://dx.doi.org/10.1155/2014/789852.

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From drawing to sculpture, poetry to journaling, and dance to music and song, the arts can have a major impact on patients’ spiritual well-being and health. The arts empower patients to fulfill the basic human drive to create and give patients a sense of possibility. Through creative expression, patients regain a feeling of wholeness, individually and as part of the larger world. Although spiritual caregivers have made occasional use of the arts, it would be better for the arts to be seen as a pillar of spiritual care provision. This paper provides a model for arts-based spiritual care (chaplaincy) in oncology/hematology and elsewhere. We discuss how to match the art form intervention to the individual patient and give examples of many kinds of uniquely spiritual arts-based interventions. In life, there are occasional “caseuras,” or ruptures. Using a theoretical foundation drawn from theologian Michael Fishbane, our model of arts-based spiritual care bridges the experience of the caesura to a renewed sense of meaning, or spiritual reorientation, that can be discovered within the reality of illness. Additionally, the ambiguity and playfulness inherent to creative expression strengthen the patient’s flexibility and resilience.

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47

Ackerman, Felicia Nimue. "'I may do no penaunce': Spiritual Sloth in Malory's Morte." Arthuriana 16, no. 1 (2006): 47–53. http://dx.doi.org/10.1353/art.2006.0001.

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48

Dosanjh, Kate. "Rest in Peace: Launcelot's Spiritual Journey in Le Morte Darthur." Arthuriana 16, no. 2 (2006): 63–67. http://dx.doi.org/10.1353/art.2006.0085.

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Clark, David Eugene. "Constructing Spiritual Hierarchy through Mass Attendance in the Morte Darthur." Arthuriana 25, no. 1 (2015): 128–53. http://dx.doi.org/10.1353/art.2015.0012.

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Poyasyk, Oksana. "Preserving the Traditions of Easter Eggs in the Education of Children of the Highlands." Journal of Vasyl Stefanyk Precarpathian National University 1, no. 2-3 (December 22, 2014): 197–203. http://dx.doi.org/10.15330/jpnu.1.2-3.197-203.

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Nowadays the problem of spiritual revival of society is acute. Welfare in generaldepends on the spirituality of each of us. Spiritual and cultural level determines the strength of thenation. One of the most important tasks of spiritual education is to cultivate the sense of belongingto the people, traditions, art and history. It begins not only with mother's lullaby, parental word,granny’s tales, folk songs, proverbs, riddles, but with the subjects of folk art, which providewisdom of ancestors and human values. Folk art provides an excellent basis for the development ofculture. It all passes, generations are dying, everything is turned into ashes; only the spirit of thenation remains embodied in the works of folk art.

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