More than ever before, scholars recognize that nearly every form of religion or spirituality has a vital connection with art. World religions, from Hinduism to The Eastern Orthodox Church, have a long and rich relationship with an array of artistic traditions. In recent decades, the academic study of religion and the arts has burgeoned. Yet a broad and serious consideration of the topic has yet to reach readers. The first comprehensive book of its kind, The Oxford Handbook of Religion and the Arts provides expert guidance to artistry and aesthetic theory in religion. Edited by Frank Burch Brown, the Handbook brings together an international team of leading scholars to present an interdisciplinary volume of nearly forty original essays. Readers are presented the main topics, issues, methods, and resources for the study of religious and theological aesthetics. The essays give light to the dynamic interaction of world religions and art making. The volume ranges from antiquity to present day to examine idolatry, aesthetics in liturgy, and the role of art in popular religion. Ranging from music and poetry to architecture and film, the Handbook crosses the boundaries of different faiths and art forms to survey established and pioneering voices within the field. An authoritative text for scholars and students, The Oxford Handbook of Religion and the Arts will remain an invaluable resource for years to come.

The spiritual realm has been the resort of countless Blacks during their sojourn in America. Black Missionary Baptists' history blossomed in Reconstruction and matured in Jim Crow Southern society. However, research on Black Baptists at the regional and local levels has been largely neglected. In obscurity are pioneers who blazed a trail of faith in God and set in motion what Carter G. Woodson and others have called the Negro Church. What began many years ago as their religious experience lives on today, but the stories of their time have not been told. Because religion has been a significant influence on Black people it is important to reconstruct and preserve local and regional religious history. Knowledge of the past is vital to understanding the present. William Montgomery, Under Their Own Vine And Fig Tree: The African American Church in the South, 1865-1900, asserted that this time frame deserved more scholarly attention. Southwest Georgia is fertile ground for Black religious history. Not since W. E. B. Du Bois' The Black Church, has there been a focus on Blacks and religion in the region. This book resurrects from invisibility's custody Blacks embrace of Christianity in local and regional settings. Its contents explore denomination identity formation and religion as a means of uplift and advancement in the microcosm of Southwest Georgia. Through it all, Black Baptist ministers were pivotal actors in the religious drama. Although myths and stereotypes about Black ministers of the past abound, they, nevertheless, led the way down freedom road. This book tells of Black preachers of the past, their efforts to uplift and advance the race, and reveals the depth of their creativity, that was repeatedly demonstrated in the founding of local churches and associations that are vibrant today.

Aesthetics is the science of ancient myths and art is a section of that, the story of civilization which changes by history.
Reality is transparent, therefore, it has more reflection rather than attraction, and also, it is the touchable part of existance.
Coming pages are first volume of fonts which includes the real simulations of graphic models, the usual objects which are the parts of early inventions and observation.
In fact, this book is a guide for observing the reality of illussions, difference between physics and phantom.
You will be close to learn that illusion is a search to use your incarnation about the "idea" and "icon" both to have skills on structuring models of real appearing.
You should join on triangle of logic "Vision, Object, Subject." On the models who are made by surfaces as ribbon you can use airbrushes by your election of color in pale that you can use edge and background that indeed is a part of designing.
On second volume of "Seventh Vision" you will join the painted models as well.
Finally, for your questions about calligraphy on this style, you will get your answers to your letters. Hope you enjoy by using fonts generally.
Gholam. R. Khosravi

The work by the award-winning, emerging South African artist

Chris Soal is a South African artist born in 1994 and has situated his practice between Johannesburg and Cape Town. Soal’s studio-based work is sculptural in its output, working with objects and materials in ways that show a conceptual engagement with the contexts and histories of the objects but that also re-enforce the body as a site for knowledge reception and production. Soal’s works seek to make a poetic statement through the simplest of means, engaging the viewer’s spatial awareness and perceptual habits while challenging core societal preconceptions of value and hierarchy.

Through his use of discarded and mundane ephemera, such as toothpicks and bottle caps, along with concrete, rebar, electric fencing cable, sandpaper, and other industrial materials, the artist intuitively develops the familiar to the point of the uncanny. Soal’s works can be considered social abstractions influenced by a reinterpreted Arte Povera that is deeply rooted in and reflective of his upbringing in Johannesburg, South Africa. Working symbiotically with his materials, Soal utilises the inherent physical characteristics of the objects to transform them through processes of aggregation, combination, and erosion. He seeks to interrogate views of nature and culture as a binary concept, foregrounding pressing ecological concerns by repositioning the viewer as an active agent within the contemporary environment. Despite the artificiality of his materials, Soal’s process allows them to take on biomorphic qualities or evoke natural phenomena, expressing his interest in their phenomenological quality.