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Although numerous studies have examined biblical and theological rationales for using the visual arts in worship, this book by Lisa J. DeBoer fills in a piece of the picture missing so far -- the social dimensions of both our churches and the various art worlds represented in our congregations. The first part of the book looks at Orthodoxy, Catholicism, and Protestantism in turn -- including case studies of specific congregations -- showing how each tradition's use of the visual arts reveals an underlying ecclesiology. DeBoer then focuses on six themes that emerge when Orthodox, Catholic, and Protestant uses of the visual arts are examined together -- the arts as expressions of the church's local and universal character, the meanings attributed to particular styles of art for the church, the role of the arts in enculturating the gospel, and more. DeBoer's Visual Arts in the Worshiping Church will focus and deepen the thinking of pastors, worship leaders, artists, students, and laypeople regarding what the arts might do in the midst of their congregations.
Although numerous studies have examined biblical and theological rationales for using the visual arts in worship, this book by Lisa J. DeBoer fills in a piece of the picture missing so far — the social dimensions of both our churches and the various art worlds represented in our congregations. The first part of the book looks at Orthodoxy, Catholicism, and Protestantism in turn — including case studies of specific congregations — showing how each tradition’s use of the visual arts reveals an underlying ecclesiology. DeBoer then focuses on six themes that emerge when Orthodox, Catholic, and Protestant uses of the visual arts are examined together — the arts as expressions of the church’s local and universal character, the meanings attributed to particular styles of art for the church, the role of the arts in enculturating the gospel, and more. DeBoer’s Visual Arts in the Worshiping Church will focus and deepen the thinking of pastors, worship leaders, artists, students, and laypeople regarding what the arts might do in the midst of their congregations.
An intriguing, substantive look into the relationship between the church and the world of art.
Despite some Protestant churches holding the view that creating visual art is a spiritual practice of Christian worship, many still do not recognize it as a spiritual practice that Christians who are called to be visual artists should be taught and encouraged to practice. This qualitative research study focuses on the reasons that creating visual art is a spiritual practice of Christian worship and should be encouraged by church leadership. Visual art has been abused in the history of the Christian church. People have worshiped the creation instead of the Creator. Due to such unfortunate practices and abuses, some Protestant church leaders have been wary of supporting the creation of visual art in the context of worship. This has alienated many Christians who have been called and anointed to be visual artists and to create visual art as a spiritual practice of their worship, encouraging them to seek places outside the church for artistic encouragement and expression. This study provides insight to church leaders on biblical and inductive reasons visual art can be used as a spiritual practice of Christian worship. While literature exists that supports the concept that the practice of Christians making visual art is not sinful, this study focuses specifically on the relationship between visual artmaking and worship. This study can help provide insight to church leaders as encouragement that Christians can create visual art as a spiritual practice. Such an outcome can bring artistically inclined people to the church as they learn how to use their artistic calling to glorify God.
How can art enhance and enrich the Christian faith? What is the basis for a relationship between the church and visual imagery? Can the art world and the Protestant church be reconciled? Is art idolatry and vanity, or can it be used to strengthen the church? Grounded in historical and biblical research, William Dyrness offers students and scholars an intriguing, substantive look into the relationship between the church and the world of art. Faith and art were not always discordant. According to Dyrness, Israel understood imagery and beauty as reflections of God's perfect order; likewise, early Christians used art to teach and inspire. However, the Protestant church abandoned visual arts and imagery during the Reformation in favor of the written word and has only recently begun to reexamine art's role in Christianity and worship. Dyrness affirms this renewal and argues that art, if reflecting the order and wholeness of the world God created, can and should play an important role in modern Christianity.
This series is designed to promote reflection on the history, theology, and practice of Christian worship and to stimulate worship renewal in Christian congregations. Written by pastoral worship leaders from diverse communities and scholars from a range of disciplines, these volumes seek to nurture worship practices that are at once spiritually vital and theologically rooted. Book jacket.
For most of history, argues John Dillenberger, the visual arts were, for better or worse, part of the very fabric of the life and thought of the church. But with the Reformation and the Counter-Reformation a major change took place. Protestant rejection of the visual was matched in Roman Catholicism by the reduction of its formative power. While the visual arts dropped out of the lives of Protestant churches, they became a memory rather than a source of ennoblement or power in the Roman Catholic Church. Thus, in different but allied ways, Protestants and Catholics lost the power of the visual. Part art history, part historical theology, and part theological reflection, this book is both an argument and a program for the recovery of the visual arts in the life of the church, for reclaiming seeing as part of religious perception. It offers a theological understanding of the visual and provides a basis upon which the visual arts may again be incorporated into Protestantism and reinvigorated in Roman Catholicism. The first part is devoted to historical reconstruction, exploring those moments in Western history in which the relation between religion and the arts was in ferment. Part 2 is given to contemporary delineation and analysis: of spiritual perceptions in modern American painting and sculpture, of modern church art and architecture, and of the changing views of contemporary theologians toward the visual arts. Citing David Tracy, Karl Rahner, Langdon Gilkey, and others as examples, Dillenberger argues that contemporary theology is moving away from the modern rationalistic understanding of theological analogy to one far closer to the arts. Part 3 is constructive, developing a theological perspective that demands and includes the visual arts, and suggesting ways in which this can be accomplished in pastoral and theological education. The world of art, says Professor Dillenberger, is more aware of the role of religion in the arts than the world of religion is of art. Thus it is time for the church to resume its historic association with the visual arts, albeit in analogous rather than repristinating ways.
More and more churches are bringing works of art into their buildings in order to enhance their worship and provide a focus for prayer and reflection. Art and Worship explores the relationship between religion and the visual arts and provides advice on how to commission works of art, how to place them, and how to hold art exhibitions in church. In Art and Worship, Anne Dawtry and Christopher Irvine survey the theological agenda for art and the Church. The authors also explore the need for communication between the Church and artists and for skill and sensitivity to the artistic dimension of worship. Art and Worship offers practical examples in commissioning works of art and shows how worship itself is art, a creative expression of our adoration and praise of God. Chapter One summarizes issues concerning the place of art in the Church. Chapter Two offers a brief history of art in the Church. Chapters Three and Four suggest the type of conversations that artists and church people should engage in. Chapter Five focuses on the relationship of art to worship. Chapter Six discusses legal ramifications congregations face when renovating churches. Chapters are "Introduction: Looking and Seeking," ?The Theological Agenda for Art and the Church, ? ?A Brief History of Art in Church, ? ?Encounter and Communication in Placing Art in Churches, ? ?Viewing Art, ? ?The Art of Worship, ? and ?Legalities, Practicalities, and Other Resources.?
Senses of the Soul explores the way art and visual elements are incorporated into Christian worship. It incorporates research conducted in Los Angeles congregations. Through extensive interviews in a sample of Protestant, Catholic, and Orthodox congregations it looks into the way visual elements actually become part of the experience of worship. By looking at attitudes and experiences of beauty, art, and memories, it suggests that believers appropriate images and aesthetic encounters in terms of imaginative structures that have been formed through worship practices over time. By comparing responses across denominations, the book proposes that people receive visual elements in ways that have been shaped by long traditions and specific background beliefs. In addition to discussions of the differences between the major Christian traditions, the book also examines the relation of art and beauty to worship, the role of memories and everyday life, and the power of images in spirituality and worship. By its focus on the worshiper, the book seeks to make a contribution to the growing conversation between the arts and Christian worship and to the process of worship renewal.
As an artist, Deborah Sokolove has often been surprised and dismayed by the unexamined attitudes and assumptions that the church holds about how artists think and how art functions in human life. By investigating these attitudes and tying them to concrete examples, Sokolove hopes to demystify art--to bring art down to earth, where theologians, pastors, and ordinary Christians can wrestle with its meanings, participate in its processes, and understand its uses. In showing the commonalities and distinctions among the various ways that artists themselves approach their work, Sanctifying Art can help the church talk about the arts in ways that artists will recognize. As a member of both the church and the art world, Sokolove is well-positioned to bridge the gap between the habits of thought that inform the discourse of the art world and those quite different ideas about art that are taken for granted by many Christians. When art is understood as intellectual, technical, and physical as well as ethereal, mysterious, and sacred, we will see it as an integral part of our life together in Christ, fully human and fully divine.