Search Results (65)

This paper addresses the contemporary challenge of religious disaffiliation and the “supermarket mentality” of liquid religion by proposing a prophetic paradigm shift in evangelisation and catechesis. Utilising Richard Osmer’s practical theological framework as a structure, the study identifies a historical shift from the lived apostolic kerygma (fides qua) toward an over-reliance on formal conciliar definitions and Magisterial formulae (fides quae). This diachronic analysis suggests that the current “apparent failure” of institutional engagement is rooted in a linguistic and methodological disconnect. Drawing on the visionary models of St Augustine and St Benedict, and grounded in Karl Rahner’s transcendental theology, the paper proposes a normative way forward: an inductive pedagogy of the heart. This model prioritises the art of accompaniment and the return to elementary, foundational concepts that address the experiential core of the human person. Ultimately, the study argues that restoring the balance between the lived tradition and the contents of the faith is a theological requirement for helping contemporary believers to live their faith in daily life. Full article

This essay advances a theological reappraisal of Impressionist painting as a modern mode of sacramental perception capable of renewing the contemplative imagination within a disenchanted West. While recent scholarship has interpreted Impressionism as a limit case of aesthetic immanence, reducing vision to light, temporality, and surface, this study argues that such immanence is not closed. Drawing on Aidan Nichols’s distinction between art made for the liturgy and art tutored by it and informed by David Fagerberg’s account of liturgy as the right ordering of reality itself, the argument proposes that Impressionist form can be evaluated according to precise theological criteria. Sustained ekphrastic analysis of Monet’s Portal of Rouen Cathedral in Morning Light (1894), Cézanne’s Mont Sainte-Victoire (c. 1902–1904), and Messiaen’s Louange à l’Immortalité de Jésus (1941) is brought into conversation with Jean-Luc Marion’s phenomenology of givenness, Pavel Florensky’s theology of perspective, and Augustine’s account of distentio animi. Read in this light, Impressionism emerges not as indifference to the sacred, but as a discipline of attention that disposes artist and perceiver toward participation in a liturgical reality already given in creation: a modern praeparatio evangelica whose formal achievements, though historically bounded, remain theologically available. The argument does not presume that Impressionist form is theological in intention, but that, when attended to with sufficient formal discipline, it may be recognized as consonant with theological accounts of perception. Full article

This essay examines the visual culture of what might be termed “the ecology of silver” between 1492 and 1710 in relation to colonialism on both sides of the Atlantic, with particular attention to both its shiny allure and the blind spots that that shininess produces. It focuses on three inter-related areas: depictions of Potosí, the great silver mountain in viceregal Peru; silver’s shine in European elite material culture; and the deployment of silver in celebrating the Spanish monarchy in viceregal Sicily, part of its empire within Europe. Current scholarship on early modern silver bifurcates between historical, political, and anthropological studies of silver’s extraction in the Americas and colonialism on one hand and a celebratory art historical scholarship focused on high-end European silver goods on the other. Scholars have energetically examined its extraction, the global trade in bullion, the rise of capitalism that it fed, and the wars that it fomented and paid for, but they stop short of inquiring into the ends to which silver was deployed within Europe and Asia beyond the naming of the principal ports. Meanwhile, studies of silver in Europe are overwhelmingly tightly drawn and connoisseurial, often with no reference to where the silver came from, let alone the circumstances of its extraction, transport, or even its effects. This split is due partly to a prevalent notion that silver’s value is inherent, objective, and caused by “rarity”; and it is partly due to art history’s unswerving identification with the rich and powerful. Such approaches overlook silver’s remarkable material and alchemical qualities and ignore its capacity to turn grubby profit into charismatic sparkle, which simultaneously drove the ecological and environmental damage and exonerated its profiteers. Early modern silver linked environmental destruction, colonialism, genocide, and coloniality to high culture, making it a particularly relevant topic for art historical analysis in this context. But more than that silver entwined them in complex, convulsive, and transformative ways, turning imperialism, violence and exploitation into beauty, shimmer and cultural sophistication. Hence, this essay insists on the centrality of imperial issues in the Old World as in the New, underscoring colonial dynamics within metropolitan culture while critically examining the work of seduction of art. The paradoxical quality of shine is the lens through which is seen the relation between violent coloniality and the allure and ecology of early modern silver. Full article

This paper examines the iconography of the Mother of God holding a book in Early Christian and Medieval art, focusing on representations in which a book or scroll functions as an attribute of the Virgin Mary. Particular attention is given to scenes depicting Mary in relation to the Christ Child, Christ Pantocrator, and the Magnificat. The study explores the symbolic significance of the book and scroll through the textual tradition of the Church Fathers. Adopting the methodological approach to the iconographical structure developed by André Grabar, the paper centers on three interconnected case studies. First, it offers a close re-examination of a Marian scene on the ivory relief of the Werden casket (9th c.) of which the meaning is hard to understand. Second, it analyzes the depiction of the Mother of God in the vault of the crypt of Epiphanius at San Vincenzo al Volturno (9th c.), with particular emphasis on motifs that associate the image with the theme of Mary’s Triumph. Finally, it considers a fresco of Mary and Christ enthroned from the Egyptian monastery of Deir al-Suryan (10th c.), treating these works as semantically and conceptually related. Through this comparative analysis, the paper advances several interpretations of the Magnificat as articulated in Early Christian visual culture and developed in later periods with the contribution of the Byzantine theology. Given the well-established influence of Early Christian art on both the Carolingian Renaissance in the West and the Byzantine East, the shared iconographical details identified here—both formal and conceptual—are understood as deriving from a common visual tradition rooted in Antiquity. Full article

This article investigates how women’s relative absence from medieval textual archives can be reconsidered through the study of visual and material culture. Focusing on Mongol and Yuan China and read in relation to The Travels of Marco Polo, it argues that women’s artistic production functioned as a form of embedded counter-archive that preserves traces of participation obscured in narrative sources. Drawing on Black feminist epistemology as a heuristic framework and employing critical fabulation and poetic inquiry as analytical methods, the study interprets silence as a meaningful historical trace rather than a void, and considers silence not as absence but as a structured condition of archival production. Four case studies—Guan Daosheng’s literati bamboo painting, the handscroll tradition associated with Lady Su Hui, imperial phoenix embroidery, and Silk Road textile fragments—demonstrate distinct modes through which women’s presence becomes materially legible: mediated visibility, formal containment, infrastructural anonymity, and circulatory displacement. These “quiet arts” reveal how women’s labour and creativity persisted within and alongside patriarchal inscriptional systems even when textual attribution receded. In dialogue with the shadow silhouettes of contemporary artist Kara Walker, the article further situates these premodern archives within a broader visual language of absence and recovery. Rather than reconstructing lost biographies, it proposes a transdisciplinary method—integrating art history, feminist theory, theology, and poetic inquiry—for reading material culture as a site where historical silence becomes structurally legible. It proposes a transdisciplinary approach that expands art historical methods for interpreting gender, authorship, and archival silence in medieval visual culture. Full article

In the context of early modern Catholic global missions, the Jesuit strategies for proselytizing Protestant heretics within Europe exhibited operational mechanisms distinct from those employed in overseas non-Christian populations. Focusing on the seventeenth-century Jesuit drama Pietas Victrix, this article examines the process by which drama was forged into an ideological weapon serving the project of constructing legitimacy during the Catholic Counter-Reformation. Research demonstrates that Jesuit drama transcended the purely esthetic sphere of literature and art, becoming a propaganda tool that integrated Tridentine dogma, anti-Protestant polemics, and the sacralizing narratives of the Habsburg dynasty. In the play, the Jesuit Nicolaus von Avancini (1611–1686) converts abstract politico-theological ideas into tangible political loyalty through narrative strategies and the coordinated use of multiple art forms, mobilizing sensory spectacle and the affective force of total work of art within the Habsburg court—the empire’s core political arena—to reconfigure confessional identity, contest ideological leadership, and accumulate crucial social legitimacy for both the Habsburgs and the Society of Jesus. This paper contends that Jesuit drama, exemplified by Pietas Victrix, represents a missionary form rooted in Thomistic theology yet highly politicized. By situating the play within the context of the Catholic Counter-Reformation, it demonstrates how drama was forged into a potent ideological weapon for legitimacy contestation. This study provides a case for interpreting how the Jesuits utilized cultural media to participate in power construction and self-representation, thereby refining our understanding of the mechanisms of cultural politics in early modern Europe. Full article

Vuoiŋŋalaš Eanadat/Spirit Land is a transdisciplinary practice-based artistic research project around Sámi cosmology and the act of giving voice to indigenous reclamation of sacred spaces. The Sámi are the indigenous people of Sweden, Norway, Finland and Russia. Vuoiŋŋalaš Eanadat/Spirit Land is a hybrid fusion between textile art, music, poetry and theology, aiming at taking part in the decolonizing processes of indigenous people’s lands and cultures in Scandinavia. Practice-based artistic research is characterized by the fact that the research process proceeds by and through the act of artistic making. The artistic process is the core, and research methodologies and theoretical perspectives are built around it, functioning as a supporting framework. Reflective writing is used as means to get access to transpersonal depths of the creative process. Reflections upon different aspects of the artwork are developed and, simultaneously, on how it can be a seen as a vehicle for indigenous voices in order to be heard in sacred spaces of our time. Vuoiŋŋalaš Eanadat/Spirit Land is an artistic performance that functions as a ceremonial act of giving voice, a liberation from the silence of the colonized past. Full article

Theological empiricism is the view that knowledge of God must ultimately rest on human experience. This puts it in opposition to theologies that rely exclusively on conceptual analysis and biblical revelation, or some combination of the two. Theological empiricism is not new. It has forerunners in the natural theology of the 18th century, and the appeal to feeling and intuition characteristic of some 19th-century theologians. What is new is the concept of ‘experimental theology’ and the suggestion that in seeking to secure an empirical basis for knowledge of God, theology should turn to the methods characteristic of the natural sciences. This paper argues that empiricism in theology is more plausible if it resists this suggestion. It gives special attention to the faculty of imagination in both science and art, and seeks to articulate the ways in which literature, painting, music and architecture can be said to embody empirical knowledge of a broadly theological kind. Full article

This study explores Eastern Orthodox aesthetics through a parallax lens, situating it at the intersection of theology, anthropology, and cultural practice to move beyond the icon-centric discourse. It examines how Orthodox aesthetics, rooted in the theological vision of beauty as divine disclosure, manifests in liturgical ethos, material culture, and secular artistic expression. The analysis draws on Christos Yannaras’ ethos of liturgical art, Chrysostomos Stamoulis’ exercise in philokalic aesthetics, and Timothy Carroll’s ethnographic material ecology of Orthodox Christianity, revealing beauty as an ontological event of communion and transformation. A parallax shift to Dionysis Savvopoulos’ lyrics uncovers an aesthetic eschatology, or an aesthetics of eschatology, where Orthodox themes of resurrection and festivity permeate non-ecclesial Greek culture. Employing a comparative, interdisciplinary methodology, the study integrates theological reflection, ethnographic insights, and cultural analysis. It concludes that Orthodox aesthetics is a dynamic field where beauty, truth, and eschatological hope converge, extending beyond the sanctuary into everyday practices and popular art—“incarnated” in material reality. This transdisciplinary approach reconfigures Orthodox aesthetics as a theological anthropology, offering fresh perspectives on its role in contemporary discourse and its diffusion into the public sphere, while advocating for material culture as a critical lens for future exploration. Full article

Both feeling and thought operate largely through a process of associations. Some of these are learned; some seem to be transcultural. In Western art it has long been assumed that certain arrangement of sounds, shapes, and colors evoke particular emotions and ideas. Rudolph Otto applies this idea also to the experience of the “Holy,” the “mysterium tremendum et fascinans.” This is a unique experience, irreducible to any other. However, there is a “law of associations” by which aesthetic and moral experiences evoke the “numinous” by a kind of analogy. Otto’s analysis raises the question whether there is in fact a specific experience of “the holy.” Is religious consciousness a sui generis experience, or is it rather an interpretation of experience? Is Otto’s notion of the numinous tied to a particular stage of religion? Post-Kantian transcendental theology proposes that “depth” or “limit” experiences are implicit in consciousness, and provide the basis for a variety of associations with the ultimate mystery of existence. The divine is anticipated as infinite transcendence that is at the same time radical immanence. The implicit intentionality of the divine can be implicit or can be formulated at different levels as feeling, image, concept, and transcendental intentionality. The “sacred” is an aesthetic construct signifying heightened awareness of the mystery. Sacred spaces are places consecrated to such awareness; they can be constructed in response to various aspects of communal awareness. All such aesthetic mediations of the sacred have an ambiguous relation to religious conversion. Full article

The very latest scholarship on the Swiss Reformation has urged us to resituate the conceptual origins and first articulations of a Reformed Covenant theology in the Zurich of Zwingli, Jud, Pellikan, and Bullinger, rather than in the Geneva of Calvin and Beza. Using insights from the recent literature of early modern memory, book history, and art history, this article provides a critical new reading of the preface, text, and paratext of the 1531 folio edition of the Zurich Bible. In doing so, it elucidates how, working with a humanist conception of historical memory, an early Reformed Covenant theology was articulated through its rhetorical juxtaposition of an imagined Israel and Rabbinic Judaism. In line with recent work on the role of historical models in early Reformed Bible culture, I contend that the language of historical memory holds the key to understanding this Reformed rearticulation of Covenant theology and its intended effect on readers of the Zurich Bible. Insights from this reading shed light on the Zurich origins of Reformed Christianity’s ambivalent history of defining itself vis-a-vis an imagined Israel and Rabbinic Judaism, with implications for understanding Protestant discourses on Israel, Judaism, idolatry, antijudaism, and antisemitism. Full article

Christian theology is not an isolated system of knowledge. The theological phenomena of revelation and inspiration are related to human knowledge of self, community and the world, yet it would be insufficient to think that their conceptual content comes only from human natural experience. This truth is expressed in the doctrine of “theological places”, which is most often associated with the Spanish Dominican Melchior Cano because of its systematic presentation. In this contribution, I present the hypothesis that science (in the modern sense) can be understood as a “theological place”, not only from the perspective of direct assimilation of concrete and detailed scientific data, but also at the level of imagination. Imagination turns out to be one of the essential components of the scientific method, of course, differently at different stages of the history of science. At the same time, today, theology itself is increasingly appealing to the imagination. In this perspective, one of the main tasks facing theology is the reception of the scientific imagination at both levels of its functioning: as a paradigm of thinking and a specific set of information that makes up the modern scientific picture of the world. Scientific imagination, not only that which comes from art, literature and philosophy, can significantly stimulate the theological imagination. Full article

For some time now, regardless of the still-common paradigm of Barbour’s practice of science–religion relations, proposals have been emerging to develop a theology of science from a Christian perspective. This article begins by discussing three theologies of science as proposed by Michael (Michał) Heller, Christopher B. Kaiser, and Tom McLeish. It then goes on to present the theological vision of the arts and sciences as contained in the work De reductione artium ad theologiam by Bonaventure of Bagnoregio (c. 1221–1274). The aim of this article is to compare the contemporary variants for a theology of science with each other and then compare them with Bonaventure’s theological project. Thus, we analyze this 13th-century thinker’s concepts and their heuristic relevance to the modern theologies of science. Full article

In contemporary New Testament studies, the question of whether Paul employed Greco-Roman rhetoric in his writings and preaching remains contentious. A prominent critic of Paul’s rhetorical usage is Duane Litfin, whose works, St. Paul’s Theology of Proclamation: 1 Corinthians 1–4 and Greco-Roman Rhetoric (1994) and Paul’s Theology of Preaching: The Apostle’s Challenge to the Art of Persuasion in Ancient Corinth (2015), argue that Paul outright rejected rhetoric in favor of a straightforward proclamation of the gospel. Litfin asserts that Paul viewed himself as a herald rather than a rhetorician, that his preaching was devoid of rhetorical adornment, and that 1 Corinthians 1:18–2:5 represents a universal theology of preaching. Litfin further suggests that Paul did not employ rhetoric in his Acts sermons, thereby aligning his epistolary and Acts portrayals of Paul. This article critically evaluates Litfin’s position by addressing five key issues. First, it challenges Litfin’s claim that Paul rejected rhetoric generally, arguing instead that Paul likely repudiated sophistic rhetoric or ornate styles rather than rhetoric per se. Second, it disputes Litfin’s dichotomy between heralds and orators, contending that Paul, identified as an apostle rather than a herald, was not bound by such a false binary. Third, it critiques Litfin’s assumption that 1 Corinthians 1–4 serves as Paul’s comprehensive theology of preaching, arguing instead that the passage is context-specific and not indicative of a universal preaching methodology. Fourth, it rejects Litfin’s view of 1 Corinthians as an apology for Paul’s ministry and style, suggesting instead that it addresses Corinthian divisions and promotes unity. Lastly, the article refutes Litfin’s claim that Paul did not use rhetoric in Acts, highlighting that the rhetorical nature of Acts’ speeches suggests otherwise. Ultimately, this article argues that Paul did not categorically reject rhetoric but utilized it in various forms to effectively communicate the gospel. Full article

Roman Bordun’s twenty-first century photograph The Apartment After the Artillery Bombardment. Heat resistant Ceramic Vase. Irpin [Ukraine]. June 2022 uses light to express the Christian paradox of suffering that leads to redemption and eternal life for the just. In order to imbue spiritual meaning into a photographic work, Bordun draws from Renaissance artists in his use of technique (chiaroscuro), topic (warfare), and geography (the city) that all reference Christ’s Resurrection. Comparing and contrasting Bordun’s Apartment with Raffaello Sanzio da Urbino’s [Raphael] paint on wood Saint Michael Overwhelming the Demon (c. 1505) demonstrates how Bordun’s photograph can transcend its discrete historical context, merging the factual and the mythic as described by C. S. Lewis. Through his references to Raphael and the masters, Bordun lays claim to a Christian iconography and challenges the political use of religion in waging human warfare. His works all demonstrate contemporary or even quotidian plays on Renaissance works in order to address current political issues. The art of photography and stylistic references to churches’ involvement in politics, as opposed to Christian teachings, critiques Moscow’s “post-truth” justifications of the Ukrainian invasion and war. Full article