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By Rina Arya

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

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2 ‘Though we cannot recover the wholeness of our predecessors, what we can do is shed our parochialism. We can remove the blinkers which have led us to see only the arts as they operate in our institution of high art.  198). 40 Franco Cirulli But Schlegel’s figurative theo-aesthetics may be of profound contemporary relevance in another way as well. Some post-structuralist writers such as Norman Bryson have criticized a great deal of Renaissance art – precisely through its idealization of the human body – as a toy for the voyeuristic pleasure of the Male Gaze.

And yet [they had to admit that] it is a corpse, a corpse in every lineament – but still ensouled by beauty and painful nostalgia (Wehmut), a living picture of the loveliest death. How truer this is … [than to represent] Christ’s cadaver in a disgusting and repelling way, and – by way of compensation – to prop next to it a Magdalene with a vain beauty and equally vain tears.  27–8) Correggio’s Christ presents us with a literal version of individual transfiguration: a luminous diaphanization of the body (the transparency of transfiguration) which involves a divine epiphany in and of the body (the figura of transfiguration).

This separation of a necessary connection between spiritual artwork and spiritual experience would not be possible if she were adopting what would amount to a functional test for an artwork to be spiritual – that it provided her with a spiritual experience. This would relativize the property of the artwork to its judger, since if it did not so move me (or indeed always so move her) then it would not be a spiritual artwork. For these reasons then I think that the view that an artwork is spiritual if it provides a spiritual experience must be discounted as arguing from a suf ficient ef fect in a person to a necessary cause in an object.

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