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Since the emergence of digital media in the 1990s, a new realm of interaction between the visual arts and religion has been forged and evolved. The spread of visual media technologies has significantly influenced the study of religious visual art worldwide after the 1990s. Despite this, the field of religious visual art during the digital era is still relatively uncharted, with a notable absence of comprehensive theoretical frameworks. To address this gap, the present paper employs bibliometric methods, conducting a thorough review and analysis of 2544 pieces of international academic literature in the domain of religion and visual arts post-1990s. The analytical framework is structured into three primary sections, each dedicated to answering key questions: (1) what constitutes the inherent relationship in the study of religion and visual art?, (2) what disciplinary context do these interplays occur within?, and (3) in which domains and regions does this interplay predominantly unfold? The outcomes of this rigorous analysis offer valuable insights into interdisciplinary influences and evolving research trends within the realm of religious visual art. These findings stand to benefit art researchers and practitioners, providing a comprehensive overview of potential avenues for the exploration of visual arts with religious themes. Through a systematic investigation, this research endeavors to heighten scholars' awareness of the significance of visual arts in the field of religion and illuminate the interdisciplinary trends at the intersection of religion and visual arts. [ABSTRACT FROM AUTHOR]

The article explores the portrayal of the role of iconography and religious art in the life of Franz Jägerstätter in the film "A Hidden Life," directed by Terrence Malick. It highlights the form of life that Christian images and art present in light of the crucifixion of Christ on the holy cross according to Thomas Aquinas. It shows how the life of Franz as depicted in the movie illuminates the ways in which Christian images can influence the journey of a person toward holiness.

This article first introduces shell ornaments and pottery on the Aitape Islands in New Guinea, discussing the role of women in their production during the nineteenth and early twentieth centuries. It then turns to material culture produced by men—cult houses and canoes—that depended on supplies obtained by trading women’s products like shell valuables. By discussing these two gendered art forms together, this article shows how integral women’s labour was to the larger social and economic structures in New Guinea that have predominantly been associated with men. It concludes by discussing how colonisation, missionisation, and the introduction of a monetary economy impacted the gendered relations of art production in the islands.

This essay explores circular compositions in medieval and early modern art. Delving into the intersection of religious, philosophical, and scientific ideas, the text examines the prevalence of circular depictions in medieval and early modern aesthetics. Utilizing an interdisciplinary approach, the author draws from primary Hermetic and Neoplatonic sources, providing four reasons for this preference. Firstly, this essay explores the scientific understanding of the shape of the universe, planets, and stars. The second reason delves into the psychological, symbolic, and geometric aspects associated with circular compositions, connecting them to Christian cosmological diagrams and symbolism in the visual arts. Furthermore, the essay investigates the conceptualisation of the universe as a mirror reflecting the divine, emphasising the role of beauty in religious art. The essay concludes by examining the visual culture of medieval and early modern periods, tracing the evolution of circular representations from Roman coins and shields to illuminated manuscripts and paintings. The article sheds light on a hitherto underexplored aspect of medieval and early modern cultures, despite its significance in shaping symbolism and organizing iconographic programs within these periods. [ABSTRACT FROM AUTHOR]

Ancient philosophers attached great importance to the ideals of unity, truth, goodness, and beauty as the path to the greatest good. Beauty expressed through works of art can open the eyes of the mind and heart and direct the human spirit to transcendence. The beauty of art awakens inner emotionality, evokes elation in silence, and leads to "coming out of oneself". The concept of beauty is inextricably linked to Catholic theology and preaching. Beautiful sacred images were a source of theological messages, intercession, and entry into the transcendental world. Medieval Gothic cathedrals had images on the walls as a basic tool of catechesis. Even in today's teaching of young people, images play a crucial role. The world of symbols enables Christians to connect everyday life experiences with theological messages. The image of the Virgin Mary is the best example of recognizing personal life situations, with the story of a mother who loved her child, accepted the suffering and death of her own son, and together with St. Joseph formed a holy family, which is the image of an imperfect family in which each person recognizes himself. All these aspects of the life of the Virgin Mary could form the basic concepts of the Christian understanding of beauty. In modern thought, the concept of beauty is understood quite narrowly (we are talking about narrowing the meaning of the concept of beauty). In the first part of this paper, we focus on the philosophical concept of beauty with a brief historical overview, then we point out the difference between transcendental beauty and aesthetic beauty. Beauty appeals to the human being and opens the heart to the transcendent, to God, who is the source and fullness of beauty, beauty itself. The originality of the article is in its presentation of the understanding of the Christian concept of beauty through the figure and image of Mary, the Mother of God. The experience of the beauty of Mary and Mary's life story enables the believer to have a different perspective on the perception of his own life and thereby opens him to the transcendent, to a personal relationship with God, who is eternal Beauty. [ABSTRACT FROM AUTHOR]

The article focuses on the challenges and opportunities of portraying biblical subjects within one's own cultural context, illustrated through examples like Franz Ittenbach's "Madonna and Child". Topics include the artistic choices of historical accuracy versus cultural context, the complexities of enculturating the Gospel, and the questions raised about the relationship between tradition and modernity in the inculturation of Christianity.

This article provides a close reading of Giovanni Andrea Gilio's critique of Michelangelo's Last Judgment as presented in the Dialogue on the Errors and Abuses of Painters (1564). The dialogue has generally been taken as reflecting the emerging Counter-Reformation concerns regarding the indecorousness of contemporary religious art, concerns that led to the censoring of the Last Judgment's nudes in 1564 after the Council of Trent's decree on sacred images. One frequent justification for ecclesiastical oversight over the production of religious art was that artists such as Michelangelo had prioritized their art over its religious contents and devotional aims. Though Gilio's work has been read as confirming this view, this essay argues that the various opinions expressed during the animated exchanges in the dialogue yield a set of nuanced and often innovative interpretations of the Last Judgment that resist a reductive dichotomy between art and religion. Whether intentionally or not, the dialogue conveys that by the time of Michelangelo, and perhaps because of Michelangelo, the forms of art and the contents of religion could not be so easily distinguished from each other, largely because the artist's subjectivity blurred the boundaries between the two. [ABSTRACT FROM AUTHOR]

The article discusses the film "Beau Travail" by Claire Denis and its exploration of work and worklessness. The author examines Jean-Luc Nancy's commentary on the film, which suggests that the film recasts the religious themes of Herman Melville's "Billy Budd" in a less overtly religious context. The article argues that the film portrays the French Foreign Legion as a secularized community reliant on ritual and symbol, and explores the tension between the Legion's desire for unity and the individuality of its members. The author also discusses the concept of désœuvrement, or worklessness, and how it is reflected in the film's aesthetic and narrative choices. [Extracted from the article]

Одной из актуальных проблем отечественного искусствознания остается изучение явлений современной художественной жизни, многие из которых пребывают вне поля внимания авторов, пишущих об искусстве. В настоящее время художники нечасто организуют объединения, поскольку гораздо больше распространен индивидуализм, однако бывают и исключения. В 2022 году исполнилось двадцать лет петербургской Ассоциации художников — потомков дворянских родов, в составе которой более двадцати человек. Деятельность этой организации развивается по нескольким направлениям. Ассоциацию волнуют пересечения художественных направлений ленинградского-петербургского изобразительного искусства второй половины XX – XXI века. Поставив перед собой задачи расширения культурного пространства, она сотрудничает со многими современными авторами, продолжающими традиции ленинградского-петербургского искусства. Важной проблемой, требующей решения, становится и переосмысление русской истории. В статье оценивается деятельность ассоциации, ее вклад в художественную культуру, рассматривается творчество крупнейших ее представителей в контексте развития современного петербургского искусства, проанализированы основные произведения, представленные на выставках этого художественного объединения последних лет. Новизна исследования заключается в том, что впервые предпринята попытка комплексного изучения творчества представителей Ассоциации художников — потомков дворянских родов с целью определения их вклада в современное искусство.

Jazz bands from Benin draw on the spiritual traditions of Vodun to address the history of slavery through the creative circuits of transnational diasporic networks. [ABSTRACT FROM AUTHOR]

This study investigates the traditional religious architecture through the examination of Armenian Khachkar motifs at Varagavank Monastery in Van, Turkey. "Khachkar" is pivotal within Armenian religious architecture, denoting a minor architectural style and symbolising "cross-stone." The study employs a parametric identification method to extract the fundamental unit of Khachkar motifs and develop a model to explore various variations. By utilising a mathematical analysis, the research showcases the practicality of this approach in facilitating diverse transformations within intricate designs. The study offers a comprehensive analysis of the built heritage found in Armenian religious architecture, enhancing the understanding and appreciation of these cultural artefacts. The findings of this study on Khachkars make valuable contributions to architectural research and deepen our comprehension of their significance in Armenian religious art. [ABSTRACT FROM AUTHOR]

AbstractThis paper presents the aesthetics of recognition as the most appropriate approach for discerning the religious potentiality (of a Christian nature) in a significant part of contemporary art. To do so, it is necessary to understand the mechanisms, functions, and forms of recognition, to distinguish between profane, sacred, and religious art, to critically analyze the aesthetic model of the Catholic Church rooted in the concept of Neoplatonic beauty, and to propose an alternative procedure. The alternative procedure serves two purposes: first, to reveal the religious aspect of a substantial segment of contemporary culture that has been largely overlooked; and second, to prevent the confusion that arises from the inclusion of religious works in churches and liturgies, giving the impression that they are sacred. Such confusion is widespread and detrimental to the sacramental experience of faith.

The text is an attempt to indicate the areas of metaphysical competence of the latest art. It points to the fact that it is possible to bring current artistic practices and contemporary religious sensitivity closer together. It contains an outline of the historical changes that have led to today's divergence of the art that is close to religious circles from the institutional mainstream. At the same time, the paper shows that artworks with metaphysical and religious meanings occur in many different areas of today’s artistic circulation and are created also with the use of the latest art media. It emphasizes the role of properly understood tradition, capable of constantly updating its forms while maintaining unchanging spiritual values. The author draws attention to the socio-political context of the influence of art carrying the so-called universal values and the need for a dialogical approach to the programmes od activity of public cultural institutions.

Since the emergence of digital media in the 1990s, a new realm of interaction between the visual arts and religion has been forged and evolved. The spread of visual media technologies has significantly influenced the study of religious visual art worldwide after the 1990s. Despite this, the field of religious visual art during the digital era is still relatively uncharted, with a notable absence of comprehensive theoretical frameworks. To address this gap, the present paper employs bibliometric methods, conducting a thorough review and analysis of 2544 pieces of international academic literature in the domain of religion and visual arts post-1990s. The analytical framework is structured into three primary sections, each dedicated to answering key questions: (1) what constitutes the inherent relationship in the study of religion and visual art?, (2) what disciplinary context do these interplays occur within?, and (3) in which domains and regions does this interplay predominantly unfold? The outcomes of this rigorous analysis offer valuable insights into interdisciplinary influences and evolving research trends within the realm of religious visual art. These findings stand to benefit art researchers and practitioners, providing a comprehensive overview of potential avenues for the exploration of visual arts with religious themes. Through a systematic investigation, this research endeavors to heighten scholars’ awareness of the significance of visual arts in the field of religion and illuminate the interdisciplinary trends at the intersection of religion and visual arts.

Jung wrote extensively about the archetypal mandala symbol as an expression in many cultures of the centrality and nature of the interplay between human consciousness and divine consciousness. This article investigates—how in Persia, for millennia—the archetypal symbol of the mandala has been widespread in many expressions of the sacred arts. My research outlines the importance of the archetypal mandala symbol in Persian religio‐aesthetic history from the first unearthed stone carvings of Persia's ancient foundations until the more recent, breathtakingly marvellous ceilings of traditional Persian architecture today. From the artistic expressions of first religious beliefs of ancient Persia—Mithraism—and through the development of the Zoroastrian faith until the subsequent rise of Christianity and then Islam, Persian sacred art illustrates the Jungian idea that wholeness sought in the journey of individuation is often expressed through archetypal symbols of circles that articulate basic truths about the divine interplay with humanity. [ABSTRACT FROM AUTHOR]

The visual accompaniment to this issue consists of excerpts from the work of the Slovak visual artist Otis Laubert (* 1946), who is currently working in Bratislava. Slovak art historian, curator, and gallery educator Daniela Čarná introduces the life and work of this significant Slovak artist in her text. She provides insights into his thinking, poetics, and humour while presenting his typical themes, primarily focused on cartography and sacred art. [ABSTRACT FROM AUTHOR]

During the nineteenth century legislative reforms and religious revival in Ireland brought about significant change in the practice and position of Catholicism. This fostered a consumer revolution in religious art and architecture as architects, religious figures and a Catholic bourgeoisie aspired to recreate the architectural magnificence and status associated with Catholic churches of the medieval period in Ireland and Europe. The characteristic splendour of these interiors owes much to commercial producers of religious art from Britain and Europe. Makers of stained glass and decorative mosaics, in particular, dominated the Irish market even after the establishment of an Irish Arts and Crafts movement from the early 1890s and continued to thrive well into the twentieth century, even as Irish artist-designed church art grew more popular with patrons. This essay takes a fresh approach to analysing the spaces of Irish Catholicism by exploring the 'backstage' of religion from the perspective of commercial church art business history. It draws out two themes central to this Roundtable: the ways in which local sacred spaces and landscapes were impacted by transnational exchanges and processes, and the relationship between physical space and imaginative space in architectural production. [ABSTRACT FROM AUTHOR]

The Ecstasy of St. Teresa is arguably the most controversial work created by the Roman Baroque artist Gian Lorenzo Bernini (1598–1680). The debate surrounding the statue centers on the question: did the artist's radically non-traditional depiction of Teresa's transverberation transgress the boundaries of decorum as understood by seventeenth-century Catholicism? This debate has lasted for many years and is likely to endure for many more to come, for, as the mass of, at times, contradictory documentation leads us to conclude, the line of decorum that Bernini did, or did not, cross would seem to resist any firm pinpointing, that is was, indeed, fluid and subjective, even when seen through seventeenth-century eyes. The aim of this article is not to deny the subjective fluidity of that line of decorum, but rather to propose that it was perhaps far less fluid and subjective than some examiners of the issue today seem inclined to believe. At the same time, and perhaps more importantly, its aim is also to disabuse the staunch defenders of Bernini's decorum of the belief that no matter where that line of decorum might have been located in the seventeenth century, there cannot possibly be any reasonable grounds for suggesting that Bernini may have crossed it. Defenses of Bernini's decorum rest on three claims: (1) Bernini faithfully followed the literal description of Teresa's transverberation as described by the saint herself; (2) the Church understood that mystical union often entailed erotic elements and thus had no problem with religious art depicting that reality; and (3) since there is no nudity in Bernini's statue, it cannot be accused of violating decorum. Through detailed analysis of Roman Catholic catechetical teaching (from Augustine to Cardinal Roberto Bellarmino), Teresa's writings and other primary texts relating to the saint's transverberation, and an extremely close examination of the statue itself, this article argues that none of these defenses is completely accurate and thus unassailable in its conclusion, while, however, not claiming to resolve the decorum debate once and for all. [ABSTRACT FROM AUTHOR]

Background: Optimum adherence to antiretroviral therapy (ART) is crucial in managing HIV. However, some people's religious beliefs can influence how they deal with HIV and the psychosocial factors influencing their adherence to ART, such as disclosure, acceptance of HIV status, belief in ART, and depression. In sub-Saharan Africa (SSA), the role of religious beliefs in ART adherence is underexplored. We aimed to identify and conceptualize the literature on religious beliefs concerning ART adherence among Pentecostal Christians living with HIV in SSA. Methods: We conducted a scoping review of the literature on religious beliefs and ART adherence. We searched papers from PubMed, Web of Science, Medline, Sabinet, Academic Search Complete, CINAHL Plus, Health Source/Nursing Academic, Scopus, and Google Scholar and published papers from conference proceedings and dissertations. Data were extracted according to a predetermined population, concept, context framework, and eligibility criteria for selecting or rejecting studies. We used a narrative synthesis to summarize the data on evidence and the impact of religious beliefs on ART adherence. Results: Seven papers published between January 2010 and February 2022 met the inclusion criteria. Nineteen aspects of religious beliefs were identified as negatively influencing ART adherence, while eight aspects facilitated optimal adherence. "Being saved" or "born again" enhanced coping strategies for optimal adherence through actions such as less alcohol use, fidelity to a sexual partner(s), disclosure, acceptance of HIV status, reduced depression, and facilitated PLHIV to access social support from church members or other institutions. Conclusion: Religious beliefs are integral to Pentecostal Christians living with HIV and affect their adherence to ART. While some Pentecostal Christians living with HIV on ART use their religious beliefs and practices to access psychosocial support from other church members or organizations and achieve good clinical outcomes, others apply their religious beliefs and practices differently and compromise their commitments to taking ART as prescribed, thus experiencing poor viral suppression and clinical outcomes. However, more research is required to understand and theorize how religious beliefs impact ART adherence among Pentecostals living with HIV to inform guidelines for practitioners. [ABSTRACT FROM AUTHOR]

Andrej Tarkovsky is a Russian film author who has indebted the entire world's cinematography with his cinematic style. His (auto)biography and filmography give us a hint that he was a deeply religious man who believed that art should serve to deepen man's spirituality. By watching and analyzing the author's films, we came to the hypothesis that Tarkovsky uses the characters of children to express something supernatural, and therefore, we wanted to explore which narratives and stylistic devices the director uses to give his interpretation of the spiritual and transcendent. Thus, we analyzed nine characters of children that appear in the director's six full-length feature films: Ivan Bondarev (Ivan's Childhood), Boriska (Andrei Rublev), Aleksej, Ignat and Asafjev (Mirror), Marta (Stalker), Domenico's son and Angela (Nostalghia), and Gossen (The Sacrifice). The methods we have used are qualitative content analysis, description, comparison, and synthesis. The characteristics we have noticed in the characters of the children, which could point to the transcendent, are a deep and penetrating gaze, the supernatural powers children use, the mysterious environments they inhabit, the deep influence they have on other characters, asking religious questions, hermit-like loneliness, modest clothes, and allusions to a Christ-like figure. [ABSTRACT FROM AUTHOR]

The subject of this study is the works of modern Christian painting, graphics and sculpture on the example of the collection that became part of the Yenisei Museum-Reserve in 2021. The relevance lies in the clarification of a number of theoretical aspects of the dialogue between contemporary art and religion on the example of the interaction of the priest Andrei Yurevich with Siberian artists. The novelty lies in the description of the socio-cultural context of the formation of the collection in the 2000s. In order to identify the main trends in Christian art, the typology method was applied, and an interview was also conducted with the founder of the collection, priest Andrei Yurevich, and with art historian M. V. Moskalyuk, the original works in the Yenisei Museum-Reserve were examined. The theoretical results include the reconstruction of the history of the formation of the collection, the stages of its development (from the private initiative of the priest to the parish museum, later to the diocesan museum and, finally, inclusion in the state museum). Based on the analysis of individual works from the collection, a typology of the main trends in contemporary Christian art is developed. In the last part of the article, various options for updating the considered works in the exhibition activities of the Yenisei Museum-Reserve were developed. In particular, the special significance of paintings that reveal the local history of Eastern Siberia is shown, the possibility of a comparative demonstration of the collection's works with the works of artists of the second half of the 19th – early 20th centuries is assessed. In conclusion, the regularity of the collection entering the state museum is emphasized in connection with the new approach to the definition of the concept of museum, which involves working with different communities, including believers.

In this study of image-making, it is argued that from the Middle Ages to the Modern period in Lebanon, coexistence between Christians and Muslims, who maintained contact alternately as a minority or dominant culture, was defined by fundamental ideas about sacred art, namely, the embodiment and depiction of the divine. The central premise holds that in Christianity paintings of a religious character are of importance because they reaffirm belief in the doctrine of incarnation, and thus Christ's humanity. In Islam, by comparison, such art is idolatrous and deserving of censure. The opposite is asserted: God is invisible, and, therefore, paintings of the divine are impermissible. However, denunciation by Islamic scholars was not absolute; there was no disapproval if imagery did not violate Qur'anic proscription against idol-worship. A more nuanced discussion of the Arab literature demonstrates not only Muslim disavowal and episodes of iconoclasm, but also fascination with and commentary on Christian art. Such views informed Christian-Muslim debate over the value and validity of image-making in Modern-era Lebanon, which was further aroused by European developments in the science of optics, based partly on the works of Arab scientists. The advent of photography offered new ways of seeing the world, and discussion among Lebanese Muslim scholars focused on the efficacy and malevolence of optical technology in Arab society and culture. Outright condemnation of image-making was tempered by views condoning certain artistic practices. [ABSTRACT FROM AUTHOR]

The article focuses on the Diocesan Museum of Sacred Art in Vitoria-Gasteiz, Spain, which houses a collection of religious art with international significance, sourced from over 400 parish churches in the surrounding region. Topics include the museum's organization into various sections based on stylistic and chronological developments, materials used in the artworks, and the diverse origins of the artwork ranging from local to international artists and donors.

The Blaubeuren monastery (Germany) is home to one of the most beautiful religious artistic expressions of Swabian art from the end of the 15th century, a collaborative work of various artists and workshops, including Jörg Syrlin the Younger, Michel Erhart, Hans Schüchlin, Bartholomäus Zeitblom, and Bernhard Strigel. It is a high altar triptych with a double opening. On its right inner bas-relief is "The Adoration of the Magi", a work by Bartholomäus Zeitblom (ca. 1455–1520), a prominent member of the Ulm School. In the scene, on King Balthazar's leg, there is a short literary text and a number, "DIER ZVO LIEB 100", as well as a crowned monogram among floral elements. In this decipherment study, we propose meanings for all of these inscriptions, based on a collection of various previous solutions. The conclusions lead us to a pious expression toward the Child God based on an old Tyrolean Christmas carol compiled in the 19th century, which we trace back to at least the 15th century, an author's signature by Zeitblom, and an acknowledgment of the royalty of the Virgin Mother Mary. [ABSTRACT FROM AUTHOR]

Reflecting on the insights the churches Black brotherhoods built in colonial Brazil have to offer about the patrons' lives and subjectivities, this brief provocation invites to think the colonial archive beyond the static document. [ABSTRACT FROM AUTHOR]

In this article, I investigate the relationship between religion and art in the work of Walter Benjamin. I demonstrate how this relation is embedded in Benjamin's understanding of a dialectic of secularization, which has recently been examined by Sigrid Weigel and Daniel Weidner. Within this context, I focus on the "expressionless" and its relation to the holy in Benjamin's thought. I follow different applications of the expressionless in Benjamin's texts from different periods and analyze their overall significance. My thesis is that the expressionless is a specifically aesthetic category that can rescue the difference between the holy and the profane, granting both spheres their own rights and thereby resisting any sacralization of art in an aesthetic cult. Therefore, with reference to the holy and to the expressionless, one can claim with Benjamin that a religious perspective on art in a secular context is of irreplaceable value, while the expressionless simultaneously safeguards the autonomy of art. [ABSTRACT FROM AUTHOR]

This study attempts to identify the theme of light in the imagery of ancient Greco-Roman and Christian art through a comparative analysis of the context and evolution of artistic language before and after the Christianization of the Roman Empire. An essential criterion in understanding the new aesthetic paradigm and highlighting the means of artistic expression characteristic to the two periods temporally delimited by the event of the Incarnation, is the way in which artistic consciousness relates to divinity. The acceptance or not of the Revelation, the reflection in religious art of the fact that God became Man and He has a Face, as opposed to other philosophical quests and religious systems that dress up the idea of divinity and its attributes in the face of the gods, personifying it or imagining it symbolically, - makes the difference. God communicates Himself to man through light, light being the common denominator of any epistemology, without placing in competition or in opposition the knowledge that comes to us through Revelation with that acquired by man through scientific experiments. Paradox is a mark of light. Science has proven it with the wave-particle dualism of quantum mechanics and theology fully confirms it. Light is a Person who says of Himself that He is: 'The Light of the World'. (John 8, 12). The theme of light has multiple meanings in biblical exegesis; from the metaphorical image that runs through the Book of Revelation to that of the incorporated Light (Lux incorporata), an interpretation that refers to the Mystery of the Incarnation, to the world transfigured by grace, to the uncreated light communicated to people by the heavenly hierarchies through the Church in the form of the Holy Mysteries. In the world of late Roman antiquity, and later in the Byzantine world, there was a belief that the veining or luminous veins of colored marble, gemstones or translucent stones were embedded rays of light, an intervention of divine light in the rock. The uniqueness of these 'graphic accidents' was interpreted as signs of God in the creation that suggests the unseen, the unusual, the ineffable, in short, the paradox of the Christian world summed up in this confession: that God is both One and Three, that Christ is both Man and God, and that Mary is both the Mother of God and the Virgin. The art of mosaics and stained glass, as well as the entire decorative complex of precious stones, gems and polychrome marbles adorning objects of worship and liturgical furnishings, is built on a long tradition that aesthetically and theologically values the motif of light. Dogmatic notions such as hypostatic union and perichoresis are symbolically translated into visually striking plastic expressions - provided by the natural textures of the cut and polished rocks - with the sole purpose of suggesting the dogmatic 'contradictions' of the Kingdom of Light which, as they say, 'already exists, but not yet'. [ABSTRACT FROM AUTHOR]

This article analyzes Baltic German religious art based on examples from Estonia in the first half of the nineteenth century, focusing on artistic networks and the reclamation of a Renaissance classical ideal. Baltic German artists such as Friedrich Ludwig von Maydell, Gustav Adolf Hippius, and Otto Friedrich Ignatius were in contact with the Nazarenes, whose ideals were inspired by Raphael's attempt to merge art and religion. The Nazarenes influence can be seen in Baltic German religious art, which favored idealized forms and followed on from the works of the Renaissance masters. In addition to presenting religious scenes, in the Baltic context, these artworks acted as mediators of European artistic heritage. The classical ideal was thus perpetuated by a tightly connected network in which Baltic German artists joined others in re-establishing the power of the European canon of art history. [ABSTRACT FROM AUTHOR]

This paper presents the aesthetics of recognition as the most appropriate approach for discerning the religious potentiality (of a Christian nature) in a significant part of contemporary art. To do so, it is necessary to understand the mechanisms, functions, and forms of recognition, to distinguish between profane, sacred, and religious art, to critically analyze the aesthetic model of the Catholic Church rooted in the concept of Neoplatonic beauty, and to propose an alternative procedure. The alternative procedure serves two purposes: first, to reveal the religious aspect of a substantial segment of contemporary culture that has been largely overlooked; and second, to prevent the confusion that arises from the inclusion of religious works in churches and liturgies, giving the impression that they are sacred. Such confusion is widespread and detrimental to the sacramental experience of faith. [ABSTRACT FROM AUTHOR]

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The use of natural light in Christian architecture has a spiritual meaning founded on a long tradition. But over the past fifty years electric lighting has radically altered the way pieces of religious art are now displayed in church architecture. Based on the study of three projects undertaken recently in sacred places—the chapel of Queen Theodelinda at Monza (2015), the Scuola Grande di San Rocco, at Venice (2018) and St Peter’s basilica at Rome (2018)—this article examines the intentions of new lighting strategies using LED lamps and their impact on the presentation and experience of architecture and sacred art in places of heritage. The results show three processes at work: 1) patterning and focusing 2) flexibility of the luminous scenes and 3) quality rendering of colours and materials. These strategies are based on demonstrative functions (showing the space and of the work of art, visual restoration), on cognitive ones (construction of meaning, narration) and aesthetic ones (stimulation of states of sensitivity and contemplation). The lighting techniques which are employed seem to belong to a museology of the senses and are close to systems of sensorial luminous mediation. In the future, this could serve as an inspiration for the promotion and interpretation of the heritage and of heritage collections in museums.

A poem "Body" by Jessica Cohn is presented. First Line: I carry small wounds in junk drawers of the body. Last Line: in long fall, down stairwells of the body.

The first garment encountered in the exhibition I Lee Alexander McQueen: Mind, Mythos, Muse i at the Los Angeles County Museum of Art (LACMA) was a gold-brocaded, belted jacket from the designer's final, unfinished collection I Untitled i (Fall/Winter 2010-11) that was suspended from the ceiling with an invisible mount (FIGURE 1). By opening with the jacket, the Angel Heels, and the seraphim, even those who are unaware that I Untitled i was popularly dubbed I Angels and Demons i after McQueen's 2010 suicide could see the conversation between religious art and iconography and the jacket inspired by it. The curators of I Lee Alexander McQueen: Mind, Mythos, Muse i made the important choice of looking beyond this to examine the person Lee McQueen as much as the designer Alexander McQueen. [Extracted from the article]