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This essay assortment exploring the connection among spirituality and paintings is the results of a convention that came about in December 2010 at Liverpool Cathedral. in this two-day occasion, artists, clergy and lecturers from diverse disciplines - together with theology and artwork historical past - got here jointly to debate the connection among spirituality and paintings. one of many goals of either the convention and this assortment was once to elucidate what's intended by means of religious artwork or, certainly, what it capacity to explain an art as being religious. The essays extend in this factor by means of addressing the next questions: what's the dating among spirituality and paintings within the context of the paintings gallery, spiritual associations and the academy and at own and social degrees? How and why does paintings show spirituality and, conversely, why and the way is spirituality made appear in artworks? a few of the participants research the non secular elements of specific works of art, artists or inventive traditions, and ask what we suggest by way of the religious in paintings. the amount articulates the interdisciplinary nature of the topic and explores urgent matters of the modern age.

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Extra resources for Contemplations of the Spiritual in Art (Cultural Interactions: Studies in the Relationship between the Arts)

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E. figurative art that – helping itself to classicizing forms of beauty – suggests a mendaciously harmonious relationship between man and God, even if in the shape of a hopeful anticipation.  276).  277).  276). Tillich’s theological dismissal of Raphael’s religious art is particularly relevant for us, as it stands in glaring contrast with Schlegel’s celebration of Raphael, as the epitome of an art that reconciles man with God through beauty. I cannot do full justice to Tillich’s important point in this context.

Now we can see how ambitious Schlegel’s view of painting is: its task is not the presentation of the divine per se, but of the divine in nature. In so doing, Schlegel betrays what we could call a theo-humanist pictorial theory, in which a canvas can evoke the feeling of a God reconciled with our human nature. It is also a deeply paradoxical task: if the divine is that which eo ipso exceeds any sensuous object, how can it be shown in natural phenomena? Through a double movement reconciliation is both made visible and deferred.

1977). Concerning the Spiritual in Art. Trans.  H. Sadler. New York: Dover [1911]. Kant, I. (2000). Critique of the Power of Judgement. Trans. P. Guyer & E. Matthews, Cambridge: Cambridge University Press [1790]. Nietzsche, F. (1993). The Birth of Tragedy. Trans. S. Whiteside. London: Penguin [1872]. Proust, M. (1922). Swann’s Way. Trans.  S. Moncrief and T. Kilmartin. New York: Modern Library [1913]. Sade, Marquis de. (1966). 120 Days of Sodom. Trans. A. Wainhouse and R. Seaver. New York: Grove Press [1785].

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