The Art of the Sublime: Principles of Christian Art and ArchitectureIn the view of Hegel and others, pagan art is the art of the beautiful and Christian art is the art of the sublime. Roger Homan provides a comprehensive and informative account of the course of Christian art, encompassing a re-evaluation of conventional aesthetics and its application to religious art. Homan argues that taste and aesthetics are fashioned by morality and belief, and that Christian art must be assessed not in terms of its place in the history of art but of its place in Christian faith. The narrative basis of Christian art is documented but religious art is also explored as the expression of the devout and as an element in the trappings of collective expression and personal quest. Sections in the book explore pilgrimage art, puritan art, the tension of Gothic and Classical, church architecture and the language of worship. Current areas of debate, including the relationship of ethics to the appreciation of art, are also discussed. |
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Table des matières
The Beautiful and the Holy | 15 |
The trappings of sacred space | 25 |
The Fear of | 31 |
Gothic | 49 |
Puritan Aesthetics | 77 |
WN47O | 105 |
Spirit and Conscience | 109 |
10 | 119 |
18 | 149 |
Conclusion | 163 |
Bibliography | 175 |
25 | 177 |
Glossary | 185 |
Works of art cited | 191 |
Buildings and artefacts of interest | 199 |
205 | |
Autres éditions - Tout afficher
The Art of the Sublime: Principles of Christian Art and Architecture Roger Homan Aucun aperçu disponible - 2017 |
Expressions et termes fréquents
achieved aesthetic Ages altar appreciation architect architecture arrangement artist beauty become buildings called Cathedral Catholic celebrated century chapel Chapter Child Christ Christian church classical collection colour common contemporary course craft Cross decoration devotion distinctive distinguished early effect England English example exhibition expression faith favoured figures Friends function Gallery George Gill Gothic Gothic art Holy human icon images interior Italy John known less light London look Madonna Mary means medieval meeting houses moral Morris Museum nature nineteenth century observes original ornament Oxford painter painting particular period picture plain portraits practice Press principles produced Protestant Pugin Quaker regarded religious revival Roman Rome Ruskin sacred saints sense Shaker significant Society Southall spiritual stone Street style symbolic taste theme things tradition University Virgin visual walls window worship York