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Art as Biblical Commentary is not just about biblical art but, more importantly, about biblical exegesis and the contributions visual criticism as an exegetical tool can make to biblical exegesis and commentary. Using a range of texts and numerous images, J. Cheryl Exum asks what works of art can teach us about the biblical text. 'Visual criticism' is her term for an approach that addresses this question by focusing on the narrativity of images-reading them as if, like texts, they have a story to tell-and asking what light an image's 'story' can shed on the biblical narrator's story.In Part I, Exum elaborates on her approach and offers a personal testimony to the value of visual criticism. Part 2 examines in detail the story of Hagar in Genesis 16 and 21. Part 3 contains chapters on erotic looking and voyeuristic gazing in the stories of Bathsheba, Susanna, Joseph and Potiphar's wife and the Song of Songs; on the distribution of renown among Jael, Deborah and Barak; on the Bible's notorious women, Eve and Delilah; and on the sacrificed female body in the stories of the Levite's wife (Judges 19) and Mary the mother of Jesus.

Christian art and symbolism. --- Bible --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament

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Across the nine thematic chapters of Experiencing Medieval Art, renowned art historian Herbert L. Kessler considers functional objects as well as paintings and sculptures; the circumstances, processes, and materials of production; the conflictual relationship between art objects and notions of an ineffable deity; the context surrounding medieval art; and questions of apprehension, aesthetics, and modern presentation. He also introduces the exciting discoveries and revelations that have revolutionized contemporary understanding of medieval art and identifies the vexing challenges that still remain. With 16 color plates and 81 images in all—including the stained glass of Chartres Cathedral, the mosaics of San Marco, and the Utrecht Psalter, as well as newly discovered works such as the frescoes in Rome’s aula gotica and a twelfth-century aquamanile in Hildesheim—Experiencing Medieval Art makes the complex history of medieval art accessible for students of art history and scholars of medieval history, theology, and literature. Experiencing Medieval Art is an extensive revision and expansion of the author's Seeing Medieval Art, originally published in 2004. Renowned art historian Herbert L. Kessler considers often-strange objects and the materials of which they are made, circumstances of production, the conflictual relationship between art objects and notions of an ineffable deity, the context surrounding medieval art, the playfulness of art and the formal movements it engaged, as well as questions of apprehension, aesthetics, and modern presentation. Kessler introduces the exciting discoveries and revelations that have revolutionized the understanding of medieval art and identifies the vexing challenges that still remain. Examining such well-known monuments as the stained glass in Chartres cathedral, mosaics in San Marco Venice, and Utrecht Psalter, as well as newly discovered works--including the frescoes in Rome's "aula gotica" and a twelfth-century aquamanile in Hildesheim--Kessler makes the complex history of medieval art accessible for students of art history, teachers in the field, and scholars of medieval history, theology, and literature.

Christian religion --- Art --- art [fine art] --- religious art --- Medieval [European] --- anno 500-1499 --- Europe --- Art, Medieval --- Art and religion --- Arts in the church --- Religion and art --- Religion --- Medieval art --- History --- Religious aspects --- Art, Medieval. --- Christian art and symbolism --- Artists, Medieval --- Social aspects. --- Themes, motives --- Job descriptions. --- Middle Ages --- Council of Europe countries --- Eastern Hemisphere --- Eurasia --- Europa --- 2015 --- art [discipline]

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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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La peinture nous parle ! Mais elle vaut plus encore lorsqu'elle se tait. C'est ainsi qu'elle nous invite à une redécouverte perpétuelle du monde. Un guide pour ré-apprendre à voir. Voici une étude sur le silence dans la peinture, sur les liens entre le taire et le voir, sur la représentation du bruit, du tumulte, du fracas à travers les images médiévales. Comment un sens pourrait-il figurer un autre sens ? Comment l'oeil pourrait-il accorder une quelconque épaisseur à l'oreille ? C'est en repartant de l'ouverture du septième sceau dans l'Apocalypse et de sa mise en enluminures dans les manuscrits commentés de Beatus de Liébana, en passant par saint Augustin, que Vincent Debiais montre comment, tableau ou sculpture, l'art se nourrit du silence pour laisser place à l'interprétation qui n'est jamais qu'une rhétorique de la connaissance infinie de Dieu, de son absence présente.0Un grand traité d'esthétique. Un guide d'apprentissage à la vue mutique parce que contemplative.

Art, Medieval --- Silence in art --- Christian art and symbolism --- Aesthetics --- 246 --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Medieval art --- 246 Art et symbolisme chretiens --- 246 Christelijke kunst en symbolisme --- Art et symbolisme chretiens --- Christelijke kunst en symbolisme --- Religious aspects&delete& --- Christianity --- Psychology --- Silence --- Art chrétien médiéval --- Esthétique médiévale. --- Dans l'art. --- Thèmes, motifs. --- Themes, motives --- Religious aspects --- Radio broadcasting Aesthetics --- Art chrétien médiéval --- Esthétique médiévale.

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A study of Christ as Man of Sorrows in the Venetian world from the late Medieval through the Baroque era. Art and Faith in Venice is the first study of the Man of Sorrows in the art and culture of Venice and her dominions across three centuries. A subject imbued with deep spiritual and metaphorical significance, the image pervaded late-Medieval Europe but assumed in the Venetian world an unusually rich and long life. The book presents a biography, first tracing the transmission of the image as a vertical, half-length figure devoid of narrative from the Byzantine East c. 1275 and then exploring its gradual adaptation and diffusion across the Venetian state to a wide range of media, reaching from small manuscript illuminations to panel paintings, altarpieces, tombs and liturgical furnishings. Analyzing its nomenclature, visual form and layered meanings, the study demonstrates how this universal image played a prominent role responding to public and private devotions in the spiritual and cultural life of Venice and its larger political sphere of influence. Catherine Puglisi and William Barcham have written extensively on the Man of Sorrows and co-curated an exhibition on the subject in New York in 2011. Each also publishes separately, Puglisi on Caravaggio and Bolognese art, and Barcham on Venetian 18th-century painting

Iconography --- History of Italy --- iconology --- Passie van Christus --- Man van Smarten --- Jesus Christ --- Venice --- Symbolisme chrétien --- Art --- Art chrétien --- Jésus-Christ --- Passion --- Dans l'art. --- Man of Sorrows (Art) --- Christian art and symbolism --- Art, Medieval --- Art, Renaissance --- Art, Baroque --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Symbolism and Christian art --- Religious art --- Symbolism --- Symbolism in art --- Church decoration and ornament --- Christ as the Man of Sorrows (Art) --- 7.046 --- 7 <45> --- 7.033 --- 7.033 Kunststijlen van de Middeleeuwen --- Kunststijlen van de Middeleeuwen --- 7 <45> Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Italië --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel--Italië --- 7.046 Iconografie: mythologische-, religieuze-, epische voorstellingen. Legenden --- Iconografie: mythologische-, religieuze-, epische voorstellingen. Legenden --- Christelijke kunst --- kunst en godsdienst