Abstract The Psalmic is less tidy and linear than popular interpretation, and author Edwidge Danticat explores the non-linear tensions between lament and joy. Her writing is cyclical rather than linear. As Danticat explores the individual and communal juxtaposition of tragedy and celebration, her writing echoes the varied tenor and emotions of the Psalms. Haunting tales of national and personal life and death, separation and reunion are structurally played across her works. The heartrending sequence of life and death is eloquently explored through personal stories set against larger tales of Haitian immigration. Just as the Psalmist employs the vav adversative , or turning movements of joy and lament, Danticat likewise expresses her fluid engagement with the range of human experience (Card 75, 70). Danticat’s Psalmic aesthetic and her “fully awake and alive” wrestling with grief and celebration helps readers reconsider personal and national tragedy and triumph.

Tanya Jo Woodward

Religion and the Arts

Sacred Sorrow, Sacred Joy

Abstract This article addresses the lacuna of scholarship on Jewish-American stained glass by presenting a historical overview of this prevalent synagogue art form (1845 to the present). Analysis of key trends reveals Jewish congregations’ engagement with Christian influences by imitating the work of church stained glass in some ways while differentiating in other ways. Jewish artists and congregational leaders have also been in conversation with each other, sharing thematic and design ideas to formulate a loosely shared aesthetic and religious approach towards creating windows for their houses of worship. In accordance with the Second Commandment’s prohibition against creating “graven images,” God in figural form does not appear in synagogue space. Instead, a Jewish technique for eliciting a sense of Divine in the sanctuary has included a repertoire of light-filled images—including torches, lamps, fire, and celestial bodies—to convey a spiritual presence, enhanced by actual light from the sun itself as refracted through the windows.

Alanna E. Cooper

A Survey of American Synagogue Stained Glass

Abstract Gerwig’s Barbie film addresses social concerns regarding sexism and responds to interpretations of Genesis and the roles of men and women. The film argues that women should not rely on or find fulfilment with a man. However, while Ken and Barbie each forge their own paths at the film’s end, the real world continues to suffer from underground patriarchy and Barbie Land resumes functioning like a matriarchy. Gerwig draws attention to the social reform needed for true gender equality to exist, yet the film’s ending shows a distancing from the problem rather than a leaning into it. The Genesis account is often rejected because it is incorrectly interpreted as a patriarchal structure of man’s dominion over women; however, when viewed as an example of an egalitarian relationship, it offers positive visions for society. This requires resisting a narrative of hyper-individualism to right social wrongs and instead adopting a posture of egalitarian goodwill that bolsters the common good.

Charity Gibson

Theology Gone Pink

In Future Issues

Notes on Contributors

Abstract This article explores José Val del Omar’s religious thought in relation to his Fire in Castile , a 1960 experimental film that sets Spanish Renaissance sculptures in motion by use of pulsating lights, projected patterns, and other striking audiovisual effects. Val del Omar sought to provoke a new and technological mystical encounter: Fire in Castile displaces the viewers’ physical space to create a transcendental and sacred opening, in turn activating the affective role of the sculptures. This essay seeks to contextualize the film in relation to a core theological notion in Val del Omar’s thought, the interlacing of God and time: “God is Time,” he wrote, “the devil rules over space.” For Val del Omar, this is a tragic situation in which God is waiting for us in the entrails of life, which in turn demands a visceral disruption of our spatiotemporal and existential assumptions.

Jimena Berzal de Dios

God Is Time; The Devil Rules over Space

Abstract The essay presents a comparative analysis of three modernist novellas— Heart of Darkness , Death in Venice , and The Turn of the Screw —focusing on their use of Dionysian motifs, whereby “Dionysian” is intended in its Nietzschean context. Alongside the thematic literary connections it draws, the essay also reflects on the motives and implications of Nietzsche’s Dionysism for modernist aesthetics: Nietzsche’s eventual subsumption of the Apollonian under the Dionysian ushers in modernity’s espousal of irrationality, disease, darkness, and concealment as its privileged moments of expression. However, this new Dionysism is also symptomatic of the anxiety experienced in the aftermath of the death of God (and the concomitant death of the soul), and the essay demonstrates that the figure of the irrational in all three novellas is conveyed in terms of the struggle of a soul.

Kalliopi Nikolopoulou

Dionysus and His Discontents

New Books

Exhibitions, Conferences, Announcements

Abstract According to writer and poet Charles Cammell (1890–1968), Aleister Crowley (1875–1947) believed that through his influence and guidance, he could significantly improve an artist’s nascent abilities. Crowley claimed success for the musical achievements of Leila Waddell (1880–1932), the poetry of Victor Neuburg (1883–1940) and the artistic talents of Frieda, Lady Harris, née Bloxam (1877–1962). In 1938, Crowley invited Harris to illustrate The Book of Thoth , his last major magical work, designating her “artist executant.” Their partnership extended far beyond the requirements of the Thoth Tarot paintings: not only did Harris become Crowley’s magical pupil; they formed a strong and enduring friendship that lasted to the end of Crowley’s life. Harris had already achieved moderate success as an artist, but Crowley showed her how she could express esoteric concepts in her paintings, thereby creating “something completely new in art” (Harris to Crowley, Letter, 10 December 1940). Harris’s correspondence with Crowley shows that she eagerly embraced his guidance, determined to manifest the Tarot images in accordance with his vision. At the same time, she applied the same techniques to her own works and came to the realisation that art was the true basis of her spiritual path. Using extracts from Crowley’s and Harris’s correspondence, Crowley’s diary entries, and examples of Harris’s artwork, this article will argue that in the case of Frieda Harris, Crowley did indeed draw out her nascent artistic skills, and in doing so, enabled her to manifest Tarot designs, which on his own admission, “any given card is something beyond anything I had ever contemplated” (Crowley to Harris, Letter, 25 January 1939).

Deja Whitehouse

‘Something Completely New in Art’

Abstract As initially published by Aleister Crowley (1875–1947) in 1909, his book 777 contained tables of correspondences between the Tarot, qabalistic Tree of Life, divine pantheons and other aspects of Western esotericism. Unsatisfied with the original edition, in 1925 he commissioned artist Oskar Hopfer (1892–1966) to produce diagrams to illustrate the correspondences contained in the tables. Unfortunately, no publisher was found to issue the revised work, and the project went unfulfilled. Hopfer’s original work for Crowley is no longer extant. His designs were considered lost until the recent discovery of set of the diagrams in a German museum. This discovery has shed light on Crowley’s plans for the revised edition of 777 , his attempts to publish the work, and his belief in the power of the visual arts to communicate complex esoteric principles.

William Peters

The Most Perfect Book in the World

Abstract Scholars have often struggled to define the boundaries between sublime and religious experiences, but research tends to agree that sublimity is rational while religious experience is non-rational. However, this view receives a challenge from key texts in science fiction. In the texts I examine, contrary to prevailing views, sublimity turns mystical, while new religions become rational. Furthermore, religion and sublimity relate uneasily, as opposite poles that are distinct from but necessary to one another, with different texts emphasizing one while marginalizing, but not erasing, the other. I explore four authors, two of whom—Arthur C. Clarke and Liu Cixin—emphasize sublimity while relegating religion, while the other two—Robert A. Heinlein and Octavia E. Butler—focus on a fictional religion while subordinating the sublime. Taken together, these texts reveal the ambivalent interdependence of rational and non-rational states of mind in ways that could promote better understanding between religious and non-religious perspectives.

Kyle Garton-Gundling

“Vastness and Profundity”

Manon Hedenborg White

Henrik Bogdan

Introduction

Abstract The article analyzes four works of poetry and illustration produced by the artist, poet, and occultist Marjorie Cameron (1922–1995) in the 1950s and 1960s. Widow of rocket scientist and occultist John “Jack” Whiteside Parsons (1914–1952), an early follower of Aleister Crowley’s (1875–1947) religion Thelema, Cameron was also a friend and collaborator of Beat artist Wallace Berman (1926–1976) and avant-garde filmmaker Kenneth Anger (1927–2023). In the 1950s and 1960s, Cameron delved deeply into Crowley’s magical writings alongside those of comparative mythologist Joseph Campbell (1904–1987). The article especially highlights how Cameron creatively adapted and re-worked the ideas of both thinkers in her artistic interpretations of her Holy Guardian Angel. A core argument of the article is that art, poetry, and esotericism were intertwined pursuits for Cameron, and that extra-textual sources (e.g., letters and biographical details) contemporary with the analyzed creative works are helpful in untangling their meaning.

Magic in Art, Poetry, and Biography

Abstract This article offers an historical reexamination of the triangular relationship between the occultist and poet Aleister Crowley (1875–1947), the scholar and art historian Ananda Kentish Coomaraswamy (Āṉanta Kumāracuvāmi, 1877–1947), and the artist and singer Ratan Devī Coomaraswamy (or “Ratan Devi,” alias Alice Ethel Richardson, 1889–1958). The article first covers each angle of their relationships, with special attention to their approach towards religious art and especially Śaiva (an)iconography where relevant. It then treats a heated, racially charged exchange that the disintegration of this love triangle evoked, and considers how a Thelema-specific idea of “phallic worship” can be found at the neglected margins of Indological art history. The main argument of the article is to show that understanding intimate relationships both within and outside of conventional gender binaries or orientations in twentieth-century worlds of art history can help reveal tension points that endure even in fields not immediately related to a given movement, in this case the Thelemic current. The article accordingly seeks to provide new information about this specific triangular relationship and its relevance to scholars working on various branches of esotericism and its intersection with yoga, Tantra, and South Asia more broadly.

Keith Edward Cantú

A Triangle of Art

Abstract This essay aims at an appraisal of Nicholas Wolterstorff’s magum opus on the subject of art, the book Works and Worlds of Art , published in 1980 by the Clarendon Press in Oxford. The book is well known by analytic philosophers of religion, but its innovative value still seems to receive less recognition from other schools of thought and from artists and scholars in the area of Arts. Therefore, this introduction situates the book in the history of Philosophy of Art, with special focus on the state of affairs for the discipline in the twentieth century, engaging dialogue with other philosophical proposals in the period. Finally, the core concepts of Wolterstorff’s philosophy of art will be presented and defined in order to offer a glimpse of the richness that this book could still provide to contemporary scholarship.

William Teixeira Da Silva

Projecting Worlds Today

Abstract Oscar Wilde and Paul Cadmus both utilize their art to renegotiate how we imagine our relationship to sin within Catholicism. This article draws attention to resonances between their approaches by presenting a Wildean queer theological aesthetic as a framework to interpret Cadmus’s art. A Wildean framework utilizes the excesses of both Catholicism and queerness as a foil for each other to create pauses for the imagination in a culture and religious tradition that risks falling into mechanization. In the space of that excess, we are allowed to escape the trap of existence to live as Individuals, claiming sin as an excess that offers an imaginative pause out of mere existence. Applied to Cadmus, a Wildean framework focuses on how Cadmus’s works also engages queer and Catholic excess to renegotiate Catholic guilt around the body and instead see the body and its sin as a site to know the Self.

Nathan E. Fleeson

Creating Imaginative Pauses with Sin

Abstract This article discusses the British occultist Aleister Crowley (1875–1947) as an advertiser of the occult. Relying on theories of advertising and branding, it is argued that Crowley’s main branding strategy was the use of irony and humor in order to distance himself from other actors on the occult market. Furthermore, it is argued that this can be understood as a strategy of legitimization rooted in class consciousness, and more specifically in the elite intellectualism of turn-of-the-century Oxbridge. Crowley’s brand identity as the Great Beast 666, the Prophet of a New Age or Aeon, is analyzed with a special focus on his branding strategies in advertising, divided into (1) advertisements in books, (2) prospectuses, (3) marketing campaigns, and (4) the marketing of Crowley as a spiritual teacher.

Branding the Beast

Front matter

Abstract This article argues that modern examples of the Devil as a player of plucked and bowed stringed instruments extend early medieval representations of the Devil’s music as a powerfully persuasive force that can be used to draw souls toward Satan and, conversely, to defend against his musical machinations. By examining Homily X of the Vercelli Book (c. tenth century) in relation to early medieval music theory, the legend of St. Dunstan, and modern examples of the fiddle-playing Devil, this article demonstrates that the musical Devil and his opponents show every sign of sustaining the motif’s power into the future.

Christina M. Heckman

The Musical Devil Revisited

Abstract This article will elucidate the philosophy of the image that developed in the wake of the Iconoclastic Controversy in the Eastern Christian Empire in the ninth Century. Iconophilia was finally reinstated after a wave of iconoclasm swept across the Empire. The controversy coincides with dramatic changes within the Byzantine empire, making it difficult to establish consensus amongst scholars regarding its possible causes. After discussing several of the theories that seek to explain the adoption of iconoclasm in the Byzantine Empire, we will seek to show how image veneration was transformed and differentiated from relic worship thanks to its encounter with iconoclasm. After reviewing icon veneration prior to the Iconoclastic Controversy, this article will elucidate the philosophy of the image developed by Patriarch Nicephorus in order to show how he differentiated veneration from idolatry by redefining the image as “similar to” ( homoiosis ) rather than consubstantial with ( homoousios ) its model. By differentiating image veneration from the theory of consubstantiality that was normative within Judaism and Islam, Christian philosophy of the image will differentiate resemblance from identity, inscription from circumscription, and thereby reveal iconoclasm to be in the eye of the beholder.

Arianne Conty

Homoousios or Homoiosis

Index to Volume 27 (2023)

Abstract Since Buddhism appeared around the fifth century BCE , it has established itself as a discipline that gives philosophical teachings to many people beyond religion. After the twentieth century, Buddhism has gone beyond being a representative ideology of the East and continues to be a social and cultural inspiration for many people worldwide. By focusing on the artworks of three Korean artists, Jeong Hwa Choi, Kimsooja, and Do Ho Suh, this study explores in detail how Buddhism inspires artists to visualize self-reflection and transnational identity and how traditional Buddhism contributes to the universalization, conceptualization, and communication of contemporary art. It also discusses how Buddhism is being reinterpreted and visualized by contemporary artists today, becoming a work of art for the public, not art for the few. Their artworks, inspired by Buddhism, show how contemporary art shows humanist, participatory, empathic, diverse, and global aspects and conveys multilayered messages.

Mina Kim

Visualizing Buddhism Today

Opening 8 December 2023, Museum of Fine Arts, Boston.Jewish communities around the world have long believed that beauty has the power to enhance ritual practice.According to the principle of Hiddur Mitzvah (Hebrew for "beautification of the commandment"), aesthetics are essential to all aspects of religious life.Especially in ceremonial objects, the quality of materials, harmony of forms, and richness of textures can appeal to the senses and deepen one's immersion in spiritual customs.Bringing together nearly thirty works from the mfa's collection of Jewish ritual art, or Judaicamost of which are new acquisitions on view for the first time-this gallery explores the splendor of items made for Jewish religious experience, at home and in the synagogue.Treasures of all kinds are on view: metalwork, textiles, paintings, furniture, and works on paper.Created across the centuries, they originate from places as far reaching as Asia, North Africa, Europe, and the United States.Though their meaning and use have always been intrinsically Jewish, their styles and techniques vary greatly, reflecting the artistic language of their surrounding cultures.With lavish reliefs, engravings, and enamel and niello adornments, a Torah shield by Elimelekh Tzoref of Stanislav (Galicia, modern-day Ukraine) (1781-1782) is one of the finest in existence.Its remarkable ornamentation and craftsmanship reflect the importance of the Torah scroll-the handwritten text of the first five books of the Hebrew Bible-in Judaism.Constructed to house the scroll at the now-defunct Shaare Zion Synagogue in Chelsea, Massachusetts, a Torah ark by woodcarver Samuel Katz (about 1920) is rooted in local history: it tells a story about immigration to Boston and the many changes and challenges Jews from the area faced in the early twentieth century.Contemporary works from the United States and Israel, such as kiddush cups, candlesticks, and spice boxes used in the observation of Shabbat, offer innovative takes on Judaica for the home.Older items-including a wood and silver Torah case from Baghdad (modern-day Iraq) (1879) and used in Calcutta, India-act as tangible testimonies to their communities' histories.Taken

Abstract In his Middle-earth lore, Tolkien presents death as a special gift that Eru gave to Men alone, and not any other beings. This paper tries to answer why death can be understood as a gift even by us, even though this idea seems to contradict the traditional belief that death is a punishment for the sin of the first people in Paradise. As unorthodox as it may seem, this paper suggests that it might have been inspired by Aquinas, who presented death as an essential attribute of the human body given to it from the moment of creation, but which in Paradise was only suppressed by a special grace from God. Aquinas suggests that after the introduction of sin to the world, this grace was removed and death regained its appointed effect. Death actually became a necessary means through we are able to come back to God’s presence—thus in a sense, it is a gift.

Martina Juričková

Death—The Gift of God to Man

Abstract Among the most popular hagiographies throughout Eastern and Coptic Christianity, Athanasius’ Life of Antony has exercised profound influence upon Western visual and literary art, not least Vladimir Nabokov’s Bend Sinister . Querying the alleged originality of Nabokov’s “symbol of the Divine power,” this article examines Nabokov’s engagement with the Antonian hagiographic tradition—represented by Athanasius’ Life , Hieronymus Bosch’s Triptych of the Temptation of St. Anthony , and Gustave Flaubert’s Le Tentation de saint Antoine —to reveal the religious ground of protagonist Adam Krug’s saint-like identity and the novel’s metaliterary mysticism in the Lord’s figural descent upon an inclined beam of light at the end of Antony’s temptations. Providing a transgressive theological terroir for Nabokov to probe the porous varieties of the real, the Antonian sources of Krug’s “haloed hallucination” invite further reconsideration of Nabokov’s self-styled “indifference” to the Christian imaginary.

Erik Eklund

Haloed Hallucinations

Abstract This paper highlights the architectural theory and practice of the twentieth-century Dutch Benedictine monk and architect Dom Hans van der Laan as a lens through which to view architecture and urbanism’s underlying spiritual purpose. Van der Laan’s theologically grounded vision of architecture as a sacramental mediator between the human, the natural, and the divine and empirically based rubric by which to achieve that end—through human-centric proportion, polyrhythm, and humble materiality—provide a robust framework for crafting cities and homes that reveal the sacredness inherent in the world. Through an analysis of Van der Laan’s theory and an examination of his exemplary Roosenberg Abbey, the paper illuminates the spatial, sensory, and dimensional qualities currently lacking in many contemporary urban and architectural spaces and presents a set of strategies for adapting them to better support human flourishing.

Gabriel Miller Colombo

A House for the Spirit

Abstract Since 1877, the Seventh-day Adventist ( SDA ) Church from North America has established its presence in Southern Africa. As with missionization in other denominations, this introduced a variety of primarily Euro-American musical influences into African religious practices. Over the years, Adventist musicians have constantly negotiated a complex relationship to their African contexts, often yielding musical outcomes that cannot be reduced simply to an indigenous vs exogenous or ‘African’ vs ‘Western’ binary evaluation. This intersectional phenomenon is not thoroughly explored in the current scholarship on SDA music. This paper provides background and details on collaborations and exchanges in various repertoires since the 1980s. I argue that these embody intersectional ideas that emerge beyond geographical, cultural, and chronological boundaries. The study is developed from analyzing unstructured interviews and audio recordings to illustrate perpetually blurred boundaries in musical practices that have conventionally distinguished “African” vocal sound.

Kgomotso Moshugi

Reception and Makings of African Vocal Ensemble Sounds beyond Binaries

Abstract In this study of image-making, it is argued that from the Middle Ages to the Modern period in Lebanon, coexistence between Christians and Muslims, who maintained contact alternately as a minority or dominant culture, was defined by fundamental ideas about sacred art, namely, the embodiment and depiction of the divine. The central premise holds that in Christianity paintings of a religious character are of importance because they reaffirm belief in the doctrine of incarnation, and thus Christ’s humanity. In Islam, by comparison, such art is idolatrous and deserving of censure. The opposite is asserted: God is invisible, and, therefore, paintings of the divine are impermissible. However, denunciation by Islamic scholars was not absolute; there was no disapproval if imagery did not violate Qur’anic proscription against idol-worship. A more nuanced discussion of the Arab literature demonstrates not only Muslim disavowal and episodes of iconoclasm, but also fascination with and commentary on Christian art. Such views informed Christian-Muslim debate over the value and validity of image-making in Modern-era Lebanon, which was further aroused by European developments in the science of optics, based partly on the works of Arab scientists. The advent of photography offered new ways of seeing the world, and discussion among Lebanese Muslim scholars focused on the efficacy and malevolence of optical technology in Arab society and culture. Outright condemnation of image-making was tempered by views condoning certain artistic practices.

Myrna Nader

From Medieval Sacred Art to Modern Photography

Unhae Park Langis

The Buddha and the Bard

Abstract The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on the constitutive kernels of the Abrahamic religion of Islam (image and word), this paper will locate and define its formal manifestations in cinema; in other words, the way in which the conception of image and word at Islam marks film form. This endeavor will be sustained by calling upon some distinctive film cases of the so-called New Iranian Cinema. In particular, Offside (2006) and This Is Not a Film (2011) by Jafar Panahi, and Close-up (1990) by Abbas Kiarostami, as well as other films, will be utilized for analysis in order to delineate the qualities of the claimed religious film form in question. These films are selected as they foreground and thus play out the dialectic of image and word, their absence and their presence.

Joseph Houssni

Image and Word

Abstract A common motif in late medieval and early modern Northern European art is the “pillar-biter.” Usually, the pillar-biter is depicted as a man who clings to a column while biting into it, but there are also representations of men and women who embrace or kiss columns. In the iconographic literature, the motif is usually linked to religious hypocrisy and the dissimulation of piety. But why did premodern Europeans associate columns and pillars with religious hypocrisy? To answer this question, the essay explores the pillar-biter motif in four different contexts: visual and linguistic traditions; ecclesiastical discourses and theology; popular piety and material religion; and, lastly, the sea change brought about by the Reformation. The column may seem a mere architectural element to the modern eye, but premodern viewers associated it with a host of religious practices and controversies that have fallen into oblivion.

Daniel Jütte

“Pillar-Biters” and Beyond

Frederick Roden

“Andy Warhol: Revelation”

Abstract Love has long been extolled as a route to human moral and spiritual progress and fulfilment, not only in much past religious literature and narrative but in the more recent work of writers such as the philosopher and novelist Iris Murdoch. In such texts, however, the sentiment (or virtue) of love is clearly more than just blind or brute passion and presupposes distinctive human capacities for knowledge and free agency. That said, the relationship between knowledge and (right or virtuous) agency seems highly problematic or ambivalent on many traditional (perhaps most notably Christian) religious conceptions. This paper addresses such issues and complexities via some exploration of Genesis and the modern movie Pleasantville —with further aid from literary works of Shakespeare, Blake, Heinlein, and others—to the end of a more realistic view of human love and its moral and spiritual implications.

David Carr

Love, Knowledge, and Freedom in Pleasantville, Religious Scripture, and Wider Western Literature

In our current polarized political climate,

Charitable Writing: Cultivating Virtue Through Our Words , by Gibson, Richard Hughes and James Edward Beitler III

Angelica Modabber

An Artful Relic: The Shroud of Turin in Baroque Italy , by Casper, Andrew R.

Abstract Korean-born artist Sook Jin Jo has produced a multidisciplinary array of sculptural installations for over three decades. Her primary materials consist of discarded wooden furniture, abandoned industrial materials, and trees from the natural environment. The assemblages, installations, and public art projects from these materials offer a renewed perspective on art. Sook Jin Jo broadens her philosophical interpretation of art by transforming crude objects into significant art. Her materials are taken from various resources not only to create original visual forms, but also to convey profound meaning in our everyday lives. In the context of “ Being is born of Non-Being ,” the artist’s spiritual and philosophical views are deeply connected to Taoism, which is coherent with Zen Buddhism. Meditation Space (2000) invites people to contemplate nature in a manner that resonates as a sacred space. Jo’s recent distinguished works have comprehensively synthesized the pieces she has done so far. In Art House (Art + Architecture) and Art House Chapel II (Art + Architecture) , two nondenominational chapels extend beyond institutional religions. Her work profoundly touches the meaning of spirituality and harmony that embraces the history of the sites she utilizes within the art context. Jo’s site-specific works correspond to the healing of human beings and society rather than being aligned with traditional religious beliefs.

Soojung Hyun

Mapping Spirituality in the Art of Sook Jin Jo

The Met Fifth Ave, New York City.In Maya art, the gods are depicted at all stages of life: as infants, as adults at the peak of their maturity and influence, and as they age.The gods could die, and some were born anew, serving as models of regeneration and resilience.In Lives of the Gods: Divinity in Maya Art, rarely seen masterpieces and recent discoveries trace the life cycle of the gods, from the moment of their creation in a sacred mountain to their dazzling transformations as blossoming flowers or fearsome creatures of the night.Maya artists depicted the gods in imaginative ways: from the monumental to the miniature-from exquisitely carved, towering sculptures to jade, shell, and obsidian ornaments that adorned kings and queens, connecting them symbolically to supernatural forces.Finely painted ceramics reveal the eventful lives of the gods in rich detail.Created by master artists of the Classic period (250-900 ce) in the royal cities of what is now Guatemala, Honduras, and Mexico, the one hundred and twenty landmark works in Lives of the Gods evoke a world in which the divine, human, and natural realms are interconnected and alive.

ISSN	1079-9265, 1568-5292
国内分区	哲学(4区)哲学宗教(4区)

涉及主题	艺术历史艺术史哲学视觉艺术神学地理考古文学类政治学法学计算机科学美学语言学
出版信息	出版商: Brill Academic Publishers，出版周期: ，期刊类型: journal
基本数据	创刊年份: 1998，原创研究文献占比: 100.00%，自引率:N.A.， Gold OA占比: 7.25%

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期刊索引	中科院 4 区

Religion and the Arts

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最新文章

Sacred Sorrow, Sacred Joy

A Survey of American Synagogue Stained Glass

Theology Gone Pink

In Future Issues

Notes on Contributors

God Is Time; The Devil Rules over Space

Dionysus and His Discontents

New Books

Exhibitions, Conferences, Announcements

‘Something Completely New in Art’

The Most Perfect Book in the World

“Vastness and Profundity”

Introduction

In Future Issues

Exhibitions, Conferences, Announcements

Magic in Art, Poetry, and Biography

A Triangle of Art

Projecting Worlds Today

Creating Imaginative Pauses with Sin

Branding the Beast

Notes on Contributors

Front matter

The Musical Devil Revisited

Homoousios or Homoiosis

Index to Volume 27 (2023)

Notes on Contributors

In Future Issues

Visualizing Buddhism Today

Exhibitions, Conferences, Announcements

Death—The Gift of God to Man

Exhibitions, Conferences, Announcements

Notes on Contributors

Haloed Hallucinations

A House for the Spirit

In Future Issues

Reception and Makings of African Vocal Ensemble Sounds beyond Binaries

From Medieval Sacred Art to Modern Photography

The Buddha and the Bard

Image and Word

Exhibitions, Conferences, Announcements

Notes on Contributors

“Pillar-Biters” and Beyond

“Andy Warhol: Revelation”

Love, Knowledge, and Freedom in Pleasantville, Religious Scripture, and Wider Western Literature

Charitable Writing: Cultivating Virtue Through Our Words , by Gibson, Richard Hughes and James Edward Beitler III

In Future Issues

An Artful Relic: The Shroud of Turin in Baroque Italy , by Casper, Andrew R.

Mapping Spirituality in the Art of Sook Jin Jo

Front matter

Exhibitions, Conferences, Announcements

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