ISBN-10: 3034307500

ISBN-13: 9783034307505

This essay assortment exploring the connection among spirituality and artwork is the results of a convention that came about in December 2010 at Liverpool Cathedral. in this two-day occasion, artists, clergy and teachers from various disciplines - together with theology and artwork background - got here jointly to debate the connection among spirituality and paintings. one of many ambitions of either the convention and this assortment was once to elucidate what's intended by way of non secular paintings or, certainly, what it potential to explain an art as being non secular. The essays extend in this factor via addressing the subsequent questions: what's the courting among spirituality and artwork within the context of the paintings gallery, non secular associations and the academy and at own and social degrees? How and why does artwork exhibit spirituality and, conversely, why and the way is spirituality made show up in artistic endeavors? a few of the participants research the religious features of specific artistic endeavors, artists or creative traditions, and ask what we suggest by means of the religious in artwork. the quantity articulates the interdisciplinary nature of the topic and explores urgent matters of the modern age.

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8 Therefore, the categories listed above cannot be individually or collectively necessary for an artwork to be spiritual. Secondly, I claim that there is a quality threshold that needs to be met for the spiritual in art – as with beauty, the spiritual is something that has to be achieved, it is not automatically possessed. Some works may aim to be spiritual but fail to meet that aim because they are badly executed. If so, then the mere occurrence of any of these categories of property alone cannot be suf ficient to make an artwork spiritual.

Rilke’s Archaic Torso of Apollo leaves it open that beauty may be – as Rilke wrote in his First Duino Elegy – the beginning of terror. Friedrich Schlegel at the Louvre During his stay in Paris between 1802 and 1804, the perpetually penniless Friedrich Schlegel was an assiduous guest at the Louvre, where he had a chance to witness the extraordinary artistic riches generated by Napoleon’s 36 Franco Cirulli systematic policy of military plunder. No doubt also out of financial considerations, he decided to write (for the benefit of his fellow Germans who could not travel to Paris) extensively about the Old Masters concentrated within the walls of the museum.

Proust, M. (1922). Swann’s Way. Trans.  S. Moncrief and T. Kilmartin. New York: Modern Library [1913]. Sade, Marquis de. (1966). 120 Days of Sodom. Trans. A. Wainhouse and R. Seaver. New York: Grove Press [1785]. Sibley, F. (2001). ‘General Criteria and Reasons in Aesthetics’, in J. Benson, B.  B. Cox (eds). Approach to Aesthetics: Collected Papers of Philosophical Aesthetics. Oxford: Clarendon Press. Walton, K. (1970). ‘Categories of Art’, Philosophical Review, 79, 334–67. Young, J. (2001). Art and Knowledge.

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