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How can we think of the “aura” of (sacred) contexts and (sacred) works? How to think of individual and collective (esthetic/religious) experiences? What to make of the manipulative dimension of (religious and esthetic) “auratic” experiences? Is the work of art still capable of mediating the experience of the “sacred,” and under what conditions? What is the significance of the “eschatological” dimension of both art and religion (the sense of “ending”)? Can theology offer a way to reaffirm the creative capacities of the human being as something that characterizes the very condition of being human? This Special Issue aspires to contribute to the growing literature on contemporary art and religion, and to explore the new ways of thinking of art and the sacred (in their esthetic, ideological, and institutional dimensions) in the context of contemporary culture.
aesthetic --- harmony --- n/a --- beauty --- Gerhard Richter --- haptic --- Cologne Cathedral window --- secularism --- iconography --- Strip --- aesthetic experience --- iconology --- retro-avant-garde --- photography --- Augustine --- concepts: image --- Franciscan theology --- faith --- post-secular --- intentionality --- aura --- theurgy --- freedom --- authorship --- Magdalene --- contemporary painting --- mysticism --- wonder --- belief --- sacred --- art --- Vermeer --- chance --- abstract painting --- sensory experience --- skepticism --- digital imagery --- reading/readers --- aesthetics --- rhythm --- book(s) --- culture --- sentience --- Jerome --- ratio --- Art and religion. --- Postsecularism. --- Post-secularism --- Post-secularity --- Philosophy, Modern --- Religion --- Secularism --- Art --- Arts in the church --- Religion and art --- Religious aspects
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The Making of A Modern Art World' explores the artistic institutions and discursive practices prevailing in Republican Shanghai, aiming to reconstruct the operational logic and the stratified hierarchy of Shanghai?s art world. Using 'guohua' as the point of entry, this book interrogates the discourse both of 'guohua' itself, and the wider discourse of Chinese modernism in the visual arts. In the light of the sociological definition of 'art world', this book contextualizes 'guohua' through focusing on the modes of production and consumption of painting in Shanghai, examining newly adopted modern artistic practices, namely, art associations, periodicals, art colleges, exhibitions, and the art market.
Art and society --- Art --- S03/0633 --- S17/0630 --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art and sociology --- Society and art --- Sociology and art --- History --- Economic aspects --- Societies, etc. --- China: Geography, description and travel--Shanghai (incl. concessions) --- China: Art and archaeology--Contemporary painting after 1911 (also European influence) --- Social aspects --- Societies, etc --- Art, Primitive
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The Art of Resistance' surveys the lives of seven painters - Ding Cong (1916-2009), Feng Zikai (1898-1975), Li Keran (1907-89), Li Kuchan (1898-1983), Huang Yongyu (b. 1924), Pan Tianshou (1897-1971), and Shi Lu (1919-82)-during China's Cultural Revolution (1966-1976), a time when they were considered counterrevolutionary and were forbidden to paint. Drawing on interviews with the artists and their families and on materials collected during her visits to China, Shelley Drake Hawks examines their painting styles, political outlooks, and life experiences.These fiercely independent artists took advantage of moments of low surveillance to secretly "paint by candlelight." In doing so, they created symbolically charged art that is open to multiple interpretations. The wit, courage, and compassion of these painters will inspire respect for the deep emotional and spiritual resonance of Chinese art.
Art --- Dissenters, Artistic --- Art, Chinese --- S05/0220 --- S06/0436 --- S17/0410 --- S17/0630 --- Artistic dissenters --- Dissident artists --- Artists --- Dissenters --- Freedom and art --- Chinese art --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Political aspects --- History --- Themes, motives --- China: Biographies and memoirs--20th century: collective biographies --- China: Politics and government--Policy towards literature and art --- China: Art and archaeology--Symbolism in Chinese art, iconography --- China: Art and archaeology--Contemporary painting after 1911 (also European influence) --- Themes, motives. --- Art, Primitive
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In this book, David Der-wei Wang uses the lyrical to rethink the dynamics of Chinese modernity. Although the form may seem unusual for representing China's social and political crises in the mid-twentieth century, Wang contends that national cataclysm and mass movements intensified Chinese lyricism in extraordinary ways. Wang calls attention to the form's vigor and variety at an unlikely juncture in Chinese history and the precarious consequences it brought about: betrayal, self-abjuration, suicide, and silence. Despite their divergent backgrounds and commitments, the writers, artists, and intellectuals discussed in this book all took lyricism as a way to explore selfhood in relation to solidarity, the role of the artist in history, and the potential for poetry to illuminate crisis. They experimented with poetry, fiction, film, intellectual treatise, political manifesto, painting, calligraphy, and music. Western critics, Wang shows, also used lyricism to critique their perilous, epic time. He reads Martin Heidegger, Theodor Adorno, Cleanth Brooks, and Paul de Man, among others, to complete his portrait. The Chinese case only further intensifies the permeable nature of lyrical discourse, forcing us to reengage with the dominant role of revolution and enlightenment in shaping Chinese-and global-modernity. Wang's remarkable survey reestablishes Chinese lyricism's deep roots in its own native traditions, along with Western influences, and realizes the relevance of such a lyrical calling of the past century to our time.
Chinese literature --- Literature and society --- Music --- Painting, Chinese --- Calligraphy, Chinese --- Motion pictures --- Modernism (Literature) --- Chinese painting --- Paintings, Chinese --- Literature --- Literature and sociology --- Society and literature --- Sociology and literature --- Sociolinguistics --- History and criticism. --- History --- Social aspects --- China --- Intellectual life --- S16/0420 --- S17/0700 --- S17/0630 --- S17/2000 --- S16/0240 --- China: Literature and theatrical art--Modern novels: studies --- China: Art and archaeology--Calligraphy --- China: Art and archaeology--Contemporary painting after 1911 (also European influence) --- China: Art and archaeology--Film --- China: Literature and theatrical art--Modern poetry and poets: studies
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