Dante Alighieri (1265-1321) is one of the greatest European writers, whose untrammelled imaginative capacity was matched by a huge base in embracing the science of his era. His texts also paint compelling visual images. In Visions of Heaven, renowned scholar Martin Kemp investigates Dante's supreme vision of divine light and its implications for the visual artists who were the inheritors of Dante's vision. The whole book may be regarded as a new Paragone (comparison), the debate that began in the Renaissance about which of the arts is superior. Dante's ravishing accounts of divine light set painters the severest challenge, which took them centuries to meet. A major theme running through Dante's Divine Comedy, particularly in its third book, the Paradiso, centres on Dante's acts of seeing (conducted according to optical rules with respect to the kind of visual experience that can be accomplished on earth) and the overwhelming of Dante's earthly senses by heavenly light, which does not obey his rules of earthly optics. The repeated blinding of Dante by excessive light sets the tone for artists' portrayal of unseeable brightness.

In his missionary journeys, St. Paul spoke in a number of cities in the Greek peninsula including Athens, renowned for its philosophical heritage. He addressed to them the message of the One, Unknown God (Acts 17:22ff). Among those present in the Areopagus (the open city center of Athens) on that day was a certain Denys (Dionysios) who eventually became a disciple of Paul. Centuries later, a corpus of writings appeared bearing the name of the Denys the Areopagite. These texts were considered to be the writings of the first century disciple of the Apostle Paul and thus achieved almost immediate prominence, strongly influencing the lives of St. Maximus the Confessor (d. 662) and St. John Damascene (d.749) in the East and Eriugena (d. 877), St. Bede (d. 735), St. Bernard (d.1153) St. Thomas Aquinas (d. 1272) Nicholas of Cusa (d. 1464), St. John of the Cross (d. 1591), and many other great minds in the West. Later historical studies of Denys' texts, especially during the 19th century, showed conclusively that the writings are of a later date (5th century) than had generally been thought. Hence, the appending of "Pseudo-" before the name of Denys (Pseudo-Denys, Pseudo-Dionysius) became common place. The extraordinary brilliance of the texts themselves, however, has been in no way dimmed. The late Holy Father John Paul II in his monumental encyclical Fides et Ratio warns insistently against an approach to Revelation that shuns metaphysics. The texts of Denys provide a majestic and profound metaphysical perspective. Deeply formed by the Divine Liturgy and the Sacred Scriptures, this mysterious author uses the great insights of Plato and his later disciples, expressing the deepest profundities of the faith in stunningly beautiful writings. In Denys, readers past, present, and future find a penetrating contemplative vision into the Mystery of the Trinity and its creation. This book is a focused exposition of Denys' theological understanding with particular attention to the illuminating metaphysical depth of his insight. Care has been taken to prepare a text that is readable for the serious laymen accompanied with footnotes to provide a more detailed background for the scholar.

Also available in an open-access, full-text edition at http://oaktrust.library.tamu.edu/handle/1969.1/86080 The black sun, an ages-old image of the darkness in individual lives and in life itself, has not been treated hospitably in the modern world. Modern psychology has seen darkness primarily as a negative force, something to move through and beyond, but it actually has an intrinsic importance to the human psyche. In this book, Jungian analyst Stanton Marlan reexamines the paradoxical image of the black sun and the meaning of darkness in Western culture. In the image of the black sun, Marlan finds the hint of a darkness that shines. He draws upon his clinical experiences—and on a wide range of literature and art, including Goethe’s Faust, Dante’s Inferno, the black art of Rothko and Reinhardt—to explore the influence of light and shadow on the fundamental structures of modern thought as well as the contemporary practice of analysis. He shows that the black sun accompanies not only the most negative of psychic experiences but also the most sublime, resonating with the mystical experience of negative theology, the Kabbalah, the Buddhist notions of the void, and the black light of the Sufi Mystics. An important contribution to the understanding of alchemical psychology, this book draws on a postmodern sensibility to develop an original understanding of the black sun. It offers insight into modernity, the act of imagination, and the work of analysis in understanding depression, trauma, and transformation of the soul. Marlan’s original reflections help us to explore the unknown darkness conventionally called the Self. The image of Kali appearing in the color insert following page 44 is © Maitreya Bowen, reproduced with her permission,[email protected].

Surveys the history of the mosque lamp and its numerous variants and the deep significance of light and the lamp in religion.

There is perhaps no greater constant in religious intuition and experience than the presence of light. In spiritual traditions East and West, light is not only ubiquitous but something that assumes strikingly similar forms in altogether different historical and cultural settings. This study examines light as an aspect of religiously valued experiences and its entailments for mystical theology, philosophy, politics, and religious art. The essays in this volume make an important contribution to religious studies by proposing that it is misleading to conceive of religious experience in terms of an irreconcilable dichotomy between universality and cultural construction. An esteemed group of contributors, representing the study of Asian and Western religious traditions from a range of disciplinary perspectives, suggests that attention to various forms of divine radiance shows that there is indeed a range of principles that, if not universal, are nevertheless very widely occurring and amenable to fruitful comparative inquiry. What results is a work of enormous scope, demonstrating compelling cross-connections that will be of value to scholars of comparative religions, mysticism, and the relationship between art and the sacred. Contributors: * Catherine B. Asher * Raoul Birnbaum * Sarah Iles Johnston * Matthew T. Kapstein * Andrew Louth * Paul E. Muller-Ortega * Elliot R. Wolfson * Mimi Hall Yiengpruksawan * Hossein Ziai

An all-in-one reference book for Neo-pagan, Wiccan, or any nature-based spiritual practitioners. Has an additional "notes" section at the end for any personal spiritual information or interest to be added by the user.