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Journal articles on the topic 'Art and religion'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Smith, Katherine. "African Religions and Art in the Americas." Nova Religio 16, no. 1 (August 1, 2012): 5–12. http://dx.doi.org/10.1525/nr.2012.16.1.5.

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This print symposium of Nova Religio is devoted to African religions and arts in the Americas, focusing specifically on devotional arts inspired by the Yoruba people of West Africa. The authors presented here privilege an emic approach to the study of art and religion, basing their work on extensive interviews with artists, religious practitioners, and consumers. These articles contribute an understanding of devotional arts that shows Africa, or the idea of Africa, remains a powerful political and aesthetic force in the religious imagination of the Americas.

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2

Vaught, Carl G. "Religion as Art." International Studies in Philosophy 19, no. 1 (1987): 92–93. http://dx.doi.org/10.5840/intstudphil198719133.

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3

Shusterman, Richard. "Art and Religion." Journal of Aesthetic Education 42, no. 3 (2008): 1–18. http://dx.doi.org/10.1353/jae.0.0013.

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4

Hausman, Carl R. "Religion as Art." Idealistic Studies 15, no. 2 (1985): 170–71. http://dx.doi.org/10.5840/idstudies198515225.

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5

Andrejev, Vladislav. "Art and Religion." Theology Today 61, no. 1 (April 2004): 53–66. http://dx.doi.org/10.1177/004057360406100107.

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6

Andreson, Krista. "Art and Religion." Baltic Journal of Art History 6 (December 16, 2013): 195. http://dx.doi.org/10.12697/bjah.2013.6.09.

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7

Shusterman, Richard. "Art and Religion." Journal of Aesthetic Education 42, no. 3 (October 1, 2008): 1–18. http://dx.doi.org/10.2307/25160287.

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8

Harrison, Ted. "Religion and art." Theology 126, no. 2 (March 2023): 121–25. http://dx.doi.org/10.1177/0040571x231161733.

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9

Sanicharan, Rachelle. "Afro-Caribbean and Indigenous Religions as subject in Caribbean Art." Caribbean Quilt 6, no. 1 (February 4, 2022): 115–21. http://dx.doi.org/10.33137/cq.v6i1.36906.

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Historically, the presence of religion in art is one that is very common and well documented. Like all art, the images and various projects produced, they all are up to the viewers interpretation, with underlining messages throughout. Religion being such a major influence in many different cultures, it isn’t surprising that there is such a connection to art and religion. This is true when looking at the art produced in the Caribbean or about the Caribbean, and also by the art produced by Caribbean artists. This research seeks to demon- strate some of the various Caribbean visual arts that have been produced and the portrayal or influence of religion presented, ranging from pre-colonization to post-colonization visual art projects. In turn, this will present the influence that religion has had in the Caribbean and how this has affected Caribbean communities, whilst also highlighting the lack of representation of some common religions that are present in the Caribbean today.

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10

Wolf-Knuts, Ulrika. "Art, science, and religion." Approaching Religion 6, no. 2 (December 14, 2016): 4–5. http://dx.doi.org/10.30664/ar.67585.

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11

Faber, Paul. "Vodou art and religion." Material Religion 5, no. 2 (July 2009): 252–55. http://dx.doi.org/10.2752/174322009x12448040552205.

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12

Serra Ridgway, F. R. "ETRUSCAN RELIGION AND ART." Classical Review 50, no. 1 (April 2000): 245–46. http://dx.doi.org/10.1093/cr/50.1.245.

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13

Meyer, Birgit. "Art, anthropology, and religion." Material Religion 11, no. 1 (March 2015): 113–15. http://dx.doi.org/10.2752/205393215x14259900061797.

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14

Giles, G. J. "Art and Religion, Art and Science, Art and Production." British Journal of Aesthetics 42, no. 1 (January 1, 2002): 99–101. http://dx.doi.org/10.1093/bjaesthetics/42.1.99.

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15

Nefedova, L. K. "MODEL OF INTERACTION BETWEEN RELIGION AND ART: ONTOLOGICAL COMPARATIVE OF RELIGION AND ART." Review of Omsk State Pedagogical University. Humanitarian research, no. 32 (2021): 27–32. http://dx.doi.org/10.36809/2309-9380-2021-32-27-32.

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The correlate of religion and art is considered from the standpoint of their belonging to the forms of social consciousness, allowing one to reveal the identity of their structure. The model of the religious complex that has developed in the philosophy of religion, including consciousness, activity, relationships, organization, is extrapolated to the phenomenon of art. On this basis, an ontological comparative of religious and artistic consciousness, activity, relations, and organization is presented. These components of the structure are the points of interaction of phenomena, determining the spectrum of relations between religion and art that has developed in culture: determination, integration, complementation, dominance, cooperation. The proposed methodological approach clarifies the onto- and gnosiological platform for understanding the correlate of religion and art and has the potential to systematically clarify aspects of the interaction of religion and art, both in philosophical and in private scientific knowledge.

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16

Amey, Michael Darin. "Questing the Grail, Questioning Religion: Religion in Modern Grail Narratives." Arthuriana 25, no. 2 (2015): 3–19. http://dx.doi.org/10.1353/art.2015.0027.

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17

Gee, Constance Bumgarner. "The Religion of Art and Art of Righteousness." Arts Education Policy Review 97, no. 3 (February 1, 1996): 12–19. http://dx.doi.org/10.1080/10632913.1996.9935061.

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18

Illman, Ruth, and Bengt Kristensson Uggla. "Art approaching religion and science." Approaching Religion 6, no. 2 (December 14, 2016): 1–3. http://dx.doi.org/10.30664/ar.67584.

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19

Kelly, Shirley. "State of the Art Religion." Books Ireland, no. 256 (2003): 49. http://dx.doi.org/10.2307/20632546.

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20

Borgmann, Albert, and Carl Mitcham. "Technology between Art and Religion." Philosophy Today 31, no. 2 (1987): 140–62. http://dx.doi.org/10.5840/philtoday198731210.

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21

Coleman, Earle J. "RELIGION AS ART AND HARMONY." Religious Education 86, no. 1 (December 1990): 5–19. http://dx.doi.org/10.1080/0034408910860102.

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22

Austin, Michael. "ART AND RELIGION AS METAPHOR." British Journal of Aesthetics 35, no. 2 (1995): 145–53. http://dx.doi.org/10.1093/bjaesthetics/35.2.145.

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23

Holtschneider, K. H. "Interrupting Auschwitz: Art, Religion, Philosophy." Literature and Theology 18, no. 2 (June 1, 2004): 232–33. http://dx.doi.org/10.1093/litthe/18.2.232.

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24

Pattison, George. "Book Reviews : Religion and Art." Expository Times 105, no. 10 (July 1994): 316. http://dx.doi.org/10.1177/001452469410501033.

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25

Meissner, W. W. "Art and Religion: Psychoanalytic Reflections." Religion and the Arts 1, no. 2 (1996): 34–56. http://dx.doi.org/10.1163/156852996x00153.

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26

Meissner, W. W. "Art and Religion: Psychoanalytic Reflections." Religion and the Arts 1, no. 3 (1996): 34–56. http://dx.doi.org/10.1163/156852996x00513.

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27

Zullo, L. "975 – Art, religion and psychosis." European Psychiatry 28 (January 2013): 1. http://dx.doi.org/10.1016/s0924-9338(13)76115-7.

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28

Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl2012/2013441/232.

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Zuidervaart, Lambert. "Art, Religion, and the Sublime." Owl of Minerva 44, no. 1 (2012): 119–42. http://dx.doi.org/10.5840/owl201310212.

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30

Horne, B. L. "Book Reviews : Art and Religion." Expository Times 99, no. 8 (November 1988): 254–55. http://dx.doi.org/10.1177/001452468809900840.

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31

Beit‐Hallahmi, Benjamin. "Religion as art and identity." Religion 16, no. 1 (January 1986): 1–17. http://dx.doi.org/10.1016/0048-721x(86)90002-3.

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32

Mocholí Martínez, María Elvira. "Medieval Christian Religion and Art." Religions 15, no. 3 (February 28, 2024): 298. http://dx.doi.org/10.3390/rel15030298.

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33

Lauster, Jörg. "Metamorphosis." Svensk Teologisk Kvartalskrift 99, no. 1 (April 7, 2023): 5–20. http://dx.doi.org/10.51619/stk.v99i1.25072.

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Approaching the numinous is something that has forged a deep bond between art and religion in European cultural history. In the wake of Kant and Schleiermacher, the German theologian Ulrich Barth elaborates four constitutive elements that distinguish both aesthetic and religious experience: Fullfillment of meaning, interruption, passivity, and transcendence. From Raphael to Caspar David Friedrich to Vincent van Gogh and Paul Cézanne, impressive examples can be found of how these dimensions oscillate between religion and art. Nevertheless, there is a limit: art can, but does not have to, approach the numinous. Art can act as an eye-opener, as a school of perception, as an initiation into what Robert Bellah calls "beyonding"; art can lift the veil that lies over our everyday perception. Religion lives from the numinous. The task of religion is to use symbolic, ritual, and conceptual means to present the mystery of the world and the prospect of salvation in a way that is so tangible and concrete that people can receive support and comfort for their lives from it.

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34

Šerpytytė, Rita. "SEKULIARIZACIJA, MENAS IR RELIGIJA, ARBA – KAS YRA ŠV. SEBASTIJONAS?" Religija ir kultūra 7, no. 1-2 (January 1, 2010): 91–108. http://dx.doi.org/10.15388/relig.2010.1.2762.

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Straipsnis skirtas sekuliarizacijos kaip šiuolaikinio pasaulio iššūkio prasmės aptarimui. Svarstomos skirtingos sekuliarizacijos prasmės sampratos, išryškinant jų ontologinę perspektyvą. Grindžiamas požiūris, kad tik sekuliarizacijos ontologinės prasmės akcentavimas įgalina paaiškinti sekuliarizaciją kaip šiuolaikinio pasaulio iššūkį. Pasiremiant šia perspektyva, analizuojamas ir interpretuojamas religijos ir meno santykis šiuolaikiniame pasaulyje. Straipsnyje taip pat susitelkiama į vieną iš šiuolaikinio meno tendencijų – konceptualizavimo tendenciją. Ne tik interpretuojant atskirus meno kūrinius, bet ir išryškinant skirtingas šiuolaikinio meno startegijas, atskleidžiama „religinio“ meno religinės prasmės „mutacija“. Analizė parodo, jog meno sekuliarizuota prasmė tarpsta „gyvoje“, „aktyvioje“ religinėje prasmėje. Daroma išvada, kad šiuolaikinio religijos ir meno santykio analizė įgalina atskleisti sekuliarizacijos ambivalentiškumą – jos sakraliąją ir profaniškąją prasmes, tam tikrą sekuliarizacijos proceso dialektiką.Pagrindiniai žodžiai: sekuliarizacija, menas, religija, nihilizmas, Ch. Tayloras, Vattimo.SECULARIZATION, ART AND RELIGION OR – WHAT IT IS – SAN SEBASTIAN?Rita Šerpytytė SummaryThe article deals with the meaning of secularization as the challenge for contemporary world and considers the ways that secularization affects religion and art as well as their mutual relationship. Different concepts of the meaning of secularization are discussed and their ontological perspectives are highlighted. The attitude, that it is namely the ontological emphasis of the meaning of secularization that enables us to explain its challenge for contemporary world, is being justified. Based on this perspective, the relationship between religion and art in the contemporary world is analyzed and interpreted. The article also focuses on one of the tendencies of contemporary art, i.e. the tendency of conceptualization. Not only by interpreting certain works of art, but also elucidating different strategies of contemporary art, the “mutation” of the religious sense of “religious” art is disclosed. The analysis shows that the secularized meaning of art flourishes through its “alive” and “active” religious meaning. The conclusion is drawn that the analysis of the contemporary relationship between religion and art enables us to disclose the ambiguity of secularization – its sacral and profane sense, a certain dialectics of the process of secularization.Keywords: secularization, art, religion, nihilism, Ch. Taylor, Vattimo.

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35

Elwell, J. Sage. "The Metaphor of Religion and Art." Religion and the Arts 22, no. 5 (November 26, 2018): 622–38. http://dx.doi.org/10.1163/15685292-02205003.

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Abstract This essay takes up the challenge of unpacking the nature of what Schleiermacher called the “inner affinity” between religion and art. Drawing on the work of philosophers of art such as Susanne Langer and Arthur Danto, and philosophers of religion like Loyal Rue and David Tracy, I suggest that religion and art have at their core a comparable metaphorical structure that lends them this common communion. From this shared structure, I deduce five principal conclusions that I take to be the key avenues of affiliation between religion and art.

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36

Ziolkowski, Eric. "Wach, Religion, and "the Emancipation of Art"." Numen 46, no. 4 (1999): 345–69. http://dx.doi.org/10.1163/1568527991201428.

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AbstractDespite the abundance of lore about Joachim Wach's lifelong passion for literature, music, and other arts, the pertinence of his aesthetic reflections to his formation as historian of religions is often ignored or under-appreciated. Yet his involvement with the Kreis surrounding the poet Stefan George was perhaps one of the chief early factors that led Wach to liken the study of the history of religions to contemplation of literature and the arts. It is even possible that ideas of the literary historian Friedrich Gundolf about the relationship between the artist and the artist's work helped stimulate Wach's early thinking about the relationship between religious experience and the theoretical, practical, and institutional expressions of that experience. Indeed, throughout his own scholarly writings Wach displays an irrepressible tendency toward combining religionswissenschaflich theorizing with aesthetic reflection, and toward encompassing literary, musical, and other artistic examples within the scope of data to be considered by scholars of religion. This article analyzes the development of that tendency in Wach's scholarship, paying special attention finally to his notion of the modern Western "emancipation of art" from religious influence. This notion, while reflecting a general optimism that characterizes his view of the diversifying, developmental course of numerous other religious and cultural phenomena over time, may ultimately be too strong or reductive for describing what has actually occurred over the past several centuries in the relation between artistic and religious phenomena.

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37

Bosman, Frank G. "When Art is Religion and Vice Versa. Six Perspectives on the Relationship between Art and Religion." Perichoresis 18, no. 3 (July 1, 2020): 3–20. http://dx.doi.org/10.2478/perc-2020-0013.

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AbstractIn the discussion of religion and art, it is quite difficult to exactly define what makes art ‘religious’. In this article, the author suggest six different perspectives in which a work of art—any work of art—could be interpreted as ‘religious’, as an embodiment of the complex relationship between art and religion. These perspectives are not mutually exclusive: one and the same art work could be approached on multiple levels at once. Nor do they disqualify other methodologies of studying art and religion. These perspectives provide conceptual windows to understand what people (could) mean when they discuss religious art. The six perspectives are: (1) material, (2) contextual, (3) referential, (4) reflexive, (5) ritual, and (6) existential. They vary from the more or less objective to the more subjective, and as such from artist-intended to viewer/listener-perceived (with or without help of clues provided by the artist and/or the object itself). The author illustrates who these different perspectives can vary in defining certain pieces of art as religious by using three very different case studies: the Isenheimer Altarpiece, one of Hugo Ball’s famous sound poems, and the digital game Child of Light.

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38

Fredriksson, Malin. "Art and religion in contemporary society." Approaching Religion 6, no. 2 (December 14, 2016): 186–88. http://dx.doi.org/10.30664/ar.67583.

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39

Coupar, Regina. "Religion and Art: An Insider Perspective." Journal for the Study of Religion, Nature and Culture 9, no. 3 (February 28, 2015): 259–82. http://dx.doi.org/10.1558/jsrnc.v9i3.24053.

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40

Baitenova, N. Zh, E. F. Yessekeyeva, N. K. Aljanova, and D. Zh Dosmagambetova. "Religion and Contemporary art of Kazakhstan." Eurasian Journal of Religious studies 21, no. 1 (2020): 44–50. http://dx.doi.org/10.26577/ejrs.2020.v21.i1.r7.

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41

Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 4 (November 1994): 375. http://dx.doi.org/10.2307/1581343.

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42

Agthe, Johanna. "Religion in Contemporary East African Art." Journal of Religion in Africa 24, no. 1-4 (1994): 375–88. http://dx.doi.org/10.1163/157006694x00219.

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AbstractThis article describes three aspects of religious art in East Africa: firstly it examines the artists' personal attitude to and motivation by the Christian religion; secondly, it looks at Christian and Bible subjects in their paintings; and lastly it considers traditional religion and the newer independent churches as motifs. It draws on interviews with artists, their works in the collection of the Frankfurt Museum für Völkerkunde and a recent unpublished diploma study by Alois Krammer. 1

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43

Paper, Jordan. "Religion and Art in Contemporary China." Journal of Chinese Religions 15, no. 1 (January 1987): 51–60. http://dx.doi.org/10.1179/073776987805308101.

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44

Hansen, Ron. "Art and Religion: Hopkins and Bridges." Logos: A Journal of Catholic Thought and Culture 7, no. 1 (2004): 78–96. http://dx.doi.org/10.1353/log.2004.0004.

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45

Moore, A. C., and L. B. Brown. "Art and the Structure of Religion." Journal of Empirical Theology 3, no. 2 (1990): 51–60. http://dx.doi.org/10.1163/157092590x00129.

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46

Dempsey, Terrence E. "Book Review: Disfiguring: Art, Architecture, Religion." Theological Studies 55, no. 2 (June 1994): 382–84. http://dx.doi.org/10.1177/004056399405500230.

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47

Harris, Jack. "Letters in religion, art, and science." Interdisciplinary Science Reviews 22, no. 1 (March 1997): 1–7. http://dx.doi.org/10.1179/isr.1997.22.1.1.

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48

Nefedova, L. K. "RELIGION AND ART: PHENOMENA AND DEFINITIONS." Review of Omsk State Pedagogical University. Humanitarian research, no. 36 (2022): 30–35. http://dx.doi.org/10.36809/2309-9380-2022-36-30-35.

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The article clarifies the essential characteristics of the definitions of religion and art, and notes the conceptual insufficiency of defining these phenomena in theological and art criticism approaches. The philosophical and anthropological meanings of the binary opposition of religion and art in the aspect of the historical tradition of the formation of definitions are revealed. The objectification of the phenomena of religion and art in the cultural and social being of a person, in his material and spiritual existence is emphasized, which leads the theoretical aspects of the question of their definitions beyond the boundaries of philosophical logic in the sphere of ontology and philosophical anthropology.

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49

Yang, Shu. "Development of Art and Religion Through Compromise: Medieval Christian Art and Chinese Religious Art." Communications in Humanities Research 29, no. 1 (April 19, 2024): 28–34. http://dx.doi.org/10.54254/2753-7064/29/20230521.

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The significance of this paper lies in the analysis of medieval religious art in China and Europe, which sheds light on how the intersection of religion and art reflects cultural and societal values. To understand the delicate balance between artistic expression and religious influence, this study delves into the development and evolution of religious art during the medieval period. The comprehensive comparative analysis is conducted using an interdisciplinary and cross-cultural approach that integrates perspectives from art history, history, religious studies, and aesthetics. The findings reveal that while initially, art in both regions was predominantly influenced by religious ideals, it gradually asserted its independence and shifted from a God-centered to a human-centered approach. The results of this study imply that despite its oppressive origins, religious art managed to harness religion as a catalyst for innovation and enrichment, showcasing the resilience and adaptive capacities of art.

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50

Loosley, Emma. "Art, Archaeology and Christian Identity in Contemporary Lebanon and Syria." Chronos 19 (April 11, 2019): 57–70. http://dx.doi.org/10.31377/chr.v19i0.456.

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In western society, as in the rest of the world, the vast majority of teenagers mould their identity by reacting to the world around them. However this sense of identity is unlikely in the early twenty-first century to be predicated by religion; music, sport, fashion and choice of friends are the elements by which schoolchildren and students define themselves and, with the notable exception of some members of minority religions, Faith is unlikely to play a major part in their formation of "self'. There is little understanding as to why immigrant Muslim, Sikh or Hindu communities place such a high value on their children remaining within the orbit of the local place of worship, as religion is seen by many of the white majority as a peripheral part of life.

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