"Rabbi Cowen's creative engagement with these contemporary artists reveals how spirituality can enhance the power of the visual image, the emotional persuasiveness of the literary text, and the neurological impact of music ..." - Mel Alexenberg, formerly Professor of Art at Columbia University In the realm of contemporary aesthetic high culture, there are many painters, writers and composers of great talent, but few with deep religious knowledge and belief. In the realm of faith, there are many with deep belief and religious knowledge, but very few with developed great artistic talent. Is there some way of making good the absent but essential combination of artistic prowess and religious depth required to produce great religious artworks in the various artistic media? In response to this question, this book addresses the theory and practice of engaging significant artists – not necessarily religiously learned or committed – to draw forth from them genuinely religious high art. After exploring the concept of the religious artwork, it documents three religious-creative encounters through which important religious artworks emerged, in the realms of painting, literature and music. It concludes with thoughts on the methodology and kinds of successful engagements between religion and aesthetics – with broader implications for education to religious art.

Discussion ranges from theories of biological growth to intervals and tones in music, Pythagorean numerology, conic sections, Pascal's triangle, the Fibonnacci series, and much more. Excellent bridge between science and art. Features 58 figures.

The authors of the standard approach to Bonaventure’s aesthetics established the broad themes that continue to inform the current interpretation of his philosophy, theology, and mysticism of beauty: his definition of beauty and its status as a transcendental of being, his description of the aesthetic experience, and the role of that experience in the soul’s ascent into God. Nevertheless, they also introduced a series of pointed questions that the current literature has not adequately resolved. In Bonaventure’s Aesthetics: The Delight of the Soul in Its Ascent into God, Thomas J. McKenna provides a comprehensive analysis of Bonaventure’s aesthetics, the first to appear since Balthasar’s Herrlichkeit, and argues for a resolution to these questions in the context of his principal aesthetic text, the Itinerarium mentis in Deum.

While interest in the relationship between theology and the arts is on the rise, there are very few resources for students and teachers, let alone a comprehensive text on the subject. This book fills that lacuna by providing an anthology of readings on theological aesthetics drawn from the first century to the present. A superb sourcebook, Theological Aesthetics brings together original texts that are relevant and timely to scholars today. Editor Gesa Elsbeth Thiessen has taken a careful, inclusive approach to the book, including articles and extracts that are diverse and ecumenical as well as representative of gender and ethnicity. The book is organized chronologically, and each historical period begins with commentary by Thiessen that sets the selections in context. These engaging readings range broadly over themes at the intersection of religion and the arts, including beauty and revelation, the vision of God, artistic and divine creation, God as artist, images of God, the interplay of the senses and the intellect, human imagination, mystical writings, meanings of signs and symbols, worship, liturgy, doxology, the relationship of word and image, icons and iconoclasm, the role of the arts in twentieth-century theology, and much more.

In the beginning was beauty, and beauty was with God, and beauty was God. If the tradition of divine names, that (in its Christian form) originates with Dionysius the Areopagite and includes among its ranks Albert the Great, Thomas Aquinas, and others, is correct in identifying God with the name beauty, then repurposing the Prologue to John's Gospel in this way seems hardly controversial. For if beauty is a divine name then not only is it fitting to say God is beautiful, but it is equally fitting to say that God is beauty itself. However, like most arguments from fittingness-that is to say, arguments whose veracity derives from the congruency, proportion, or harmony between the various elements of a proposition or idea rather than from some categoricallyhigher, or univocally determinate, logical necessity-the simplicity of its utterance stands in stark contrast to the complexity of its intelligible content. It is the aim of the present work is to explore what it means to say that beauty is a divine name.

Jurgen Moltmann and others contend that Christian theology and the church face a dual crisis--one of relevance and the other of identity. Despite making this pronouncement nearly forty years ago, the church in the West continues to struggle with this crisis. Several proposals have been espoused, from the way of wisdom to the way of ecclesial praxis. Yet, little attention is given in Protestant theological discourse to the role God's beauty plays in bringing theology and ethics together. By neglecting God's beauty for theological discourse, we risk diminishing Christian worship, witness, and wisdom. God's Beauty-in-Act addresses these issues, in part, by arguing that the redemptive-creative suffering and glorious resurrection of Christ are the nexus of God's being, beauty, and Christian living. God's beauty, understood as the fittingness of the incarnate Son's actions in the Spirit to the Father's will, radiates God's glory and draws perceivers into the dramatic movements of God's triune life. These movements serve as the patterns that shape the imagination, enabling participants to perform their parts creatively and fittingly in God's drama of redemption. In doing so, human beings flourish as they jettison false identities and realities of their own making that are incommensurate with God's purpose found in Christ by the Spirit.

This illuminating analysis of Jonathan Edwards' philosophical-theological-ethical program focuses on his concept of beauty as our central clue to the nature of reality and the life of God. Delattre shows that beauty not only provides Edwards with a model for the manner of divine governance but operates throughout his thought as both the goal and means of redemption. Essential to his understanding of the operation of beauty as the law of moral order is Edwards' aesthetic/affectional model of the self, which corresponds to his aesthetic articulation of the system of being and good. Thus the distinguishing mark of Edwards' theology--his elevation to centrality of both the primary beauty of being's cordial consent to being and the secondary beauty of harmony and proportion--is shown to be the key to his interpretation of the dynamics of the moral and spiritual life.