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Books > Arts & Architecture > Art forms, treatments & subjects > Art treatments & subjects > Iconography, subjects depicted in art > Religious subjects depicted in art
The perfect Lent book for art lovers of all ages
Who was ultimately responsible for sentencing Jesus to death on the cross? Can we ever be good enough for God? Do all "religious" people go to heaven? In "Who Put Jesus on the Cross?" A.W. Tozer examines some of the most difficult questions of the Christian faith. His indictment of lackluster belief forms the cornerstone of his appeal as he asks the reader what it really costs to be a Christian. Tozer inspires conviction that will have you digging deep within your heart to newly realize the meaning of Christ's death and resurrection and discover the "Word of God as the foundation of our peace and rest."
Teaching writing is not for the faint of heart, but it can be a tremendous gift to teachers and students. Students often approach writing courses with trepidation because they think of writing as a mystical and opaque process. Teachers often approach these same courses with dread because of the enormous workload and the often-unpolished skills of new writers. This approachable composition textbook for beginning writers contends that writing can be a better experience for everyone when taught as an empathetic and respectful conversation. In a time in which discourse is not always civil and language is not always tended carefully, a conversation-based writing approach emphasizes intention and care. Written by a teacher with more than fifteen years of experience in the college writing classroom, Composition as Conversation explores what happens when the art of conversation meets the art of writing. Heather Hoover shows how seven virtues--including curiosity, attentiveness, relatability, open-mindedness, and generosity--inform the writing process and can help students become more effective writers. She invites writers of all skill levels to make meaningful contributions with their writing. This short, accessible, and instructive book offers a reflective method for college-level writing and will also work well in classical school, high school, and homeschool contexts. It demystifies the writing process and helps students understand why their writing matters. It will energize teachers of writing as they encourage their students to become careful readers and observers, intentional listeners, and empathetic arguers. The book also provides helpful sample assignments.
Vita Kirk is a travel writer who has never left her hometown. In fact, she rarely leaves her house. Due to deep wounds and bitter losses, Vita has chosen isolation over vulnerability. But when she stumbles across an antique chest in a hole-in-the-wall boutique, she discovers a puzzling link to her past and her physical surroundings mysteriously begin to change. Inscribed in the treasure chest are the words, "Love is the key that unlocks every portal." The power of these words prove to unlock a part of Vita she thought had died years ago. "Stories like this go by many different names-fantasy, time-shift, magical realism. Some are overtly Christian or religious in nature, others are not. But from a spiritual perspective, the common thread in all these works is the redeeming, transforming power of God's grace not only to alter the future but to change our understanding of the past."--Penelope Stokes
The ideas of heaven and hell have sparked some of the most powerful writings of all time. In this creative coupling of literature and Scripture, classic writers such as T.S. Eliot, William Butler Yeats, Charles Dickens and Emily Dickenson share their own inspiring visions of immortality.
Doyle constructs communion ecclesiology as a broad and inclusive category that makes room for a range of legitimate approaches. He examines the approaches of Johann Adam Mohler, Charles Journet, Henri de Lubac, Yves Congar, Karl Rahner, Hans Urs von Balthasar, Elizabeth Johnson, Joseph Ratzinger and many others.
A visual feast of eclectic artwork informed and inspired by spiritual beliefs, magical techniques, mythology and otherworldly experiences. Mystical beliefs and practices have existed for millennia, but why do we still chase the esoteric? From the beginning of human creativity itself, image-makers have been drawn to these unknown spheres and have created curious artworks that transcend time and place - but what is it that attracts artists to these magical realms? From theosophy and kabbalah, to the zodiac and alchemy; spiritualism and ceremonial magic, to the elements and sacred geometry - The Art of the Occult introduces major occult themes and showcases the artists who have been influenced and led by them. Discover the symbolic and mythical images of the Pre-Raphaelites; the automatic drawing of Hilma af Klint and Madge Gill; Leonora Carrington's surrealist interpretation of myth, alchemy and kabbalah; and much more. Featuring prominent, marginalised and little-known artists, The Art of the Occult crosses mystical spheres in a bid to inspire and delight. Divided into thematic chapters (The Cosmos, Higher Beings, Practitioners), the book acts as an entertaining introduction to the art of mysticism - with essays examining each practice and over 175 artworks to discover. The art of the occult has always existed in the margins but inspired the masses, and this book will spark curiosity in all fans of magic, mysticism and the mysterious.
Includes all of the pupil book plus additional instructions on each lesson for the teacher. An outline of each lesson helps in presenting the lesson. Answers to workbook exercises are included.
A rich and powerful exploration of desire, sin and redemption, by "our best chronicler of the rewards and pitfalls of present-day faith" [PHILIP PULLMAN] "A novel that probes any number of aggressive varieties of moralism, while testing the reader's own moral alertness for rigour, realism and generosity. An engrossing, three-dimensional, grown-up narrative." ROWAN WILLIAMS "An irresistibly readable, thoughtful and characteristically witty examination of the quandaries and compromises faced by the Church of England in an era of decline . . . I loved this book for its lightness of touch about serious subjects and for dialogue that glitters like clashing rapiers." MIRANDA SEYMOUR As a woman in the early 1980s, Clarissa Phipps is unable to pursue her vocation to the priesthood. Instead, she joins the BBC's religious affairs department, where she is sent to interview celebrated artist, Seward Wemlock, about the panels he is painting for an ancient Cheshire church. "A serious and important writer" ROSE TREMAIN Thirty years on, Clarissa, now rector of that same church, chances upon Brian, the chief bell-ringer and husband of her closest friend, fondling fifteen-year-old David. Dismissing David's claim that they are in love, Clarissa is obliged to act. Will she choose friendship or conscience, sympathy or her official duty of care? The fallout from that choice forces her to reflect on the original controversy over Wemlock's panels and her concerns about his relationship with the teenagers who modelled for Adam and Eve. Had she acted on the whispers that reached her at the time, how many lives - her own included - would have turned out differently? The Choice is a rich and powerful exploration of desire, sin and redemption, questioning whether it's possible, let alone prudent, to separate the art from the artist. It examines the fault lines in both religious and secular society, from the AIDS crisis and the struggle for women's ordination in the 1980s to the culture wars of today. Richly comic and deeply compassionate, The Choice is a remarkable synthesis of the sacred and profane. "At a time when British fiction has never been more timorous about tackling novels of ideas, Michael Arditti has produced one worthy of Iris Murdoch and Graham Greene. Brilliantly ambiguous, waspishly witty and thoroughly enjoyable, this is Michael Arditti's own masterpiece to date" AMANDA CRAIG
Russell Krabill's church membership study for young believers. This pupil book is a workbook with 12 lessons for 12 weeks of work. Instead of a catechism with questions and answers, Krabill has interwoven Christian doctrine into the lessons. Included are projects which put the new believer to work.
Did you know Vincent van Gogh sold only one painting during his lifetime and that during the last three months of his life he completed an average of one painting every day? Did you know that Michelangelo's David is covered in a dusting of human skin? Did you know Caravaggio murdered several people while he was painting some of the most glorious paintings of biblical scenes the world has ever known? Rembrandt Is in the Wind by Russ Ramsey is an invitation to discover some of the world's most celebrated artists and works, while presenting the gospel of Christ in a way that speaks to the struggles and longings common to the human experience. The book is part art history, part biblical study, part philosophy, and part analysis of the human experience; but it's all story. The lives of the artists in this book illustrate the struggle of living in this world and point to the beauty of the redemption available to us in Christ. Each story is different. Some conclude with resounding triumph while others end in struggle. But all of them raise important questions about humanity's hunger and capacity for glory, and all of them teach us to love and see beauty.
Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ's Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body's desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society. Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform. |
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