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Dissertations / Theses on the topic 'Spirituality in art'

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Published: 4 June 2021
Last updated: 31 July 2024

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1

Walsh, Dale. "Art and secular spirituality." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33946.

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Despite the numerous examples throughout history, the study of secular spirituality in art was mostly ignored until recently by contemporary writers, critics, historians, philosophers and educators. In my thesis, through the examination of selected images and writings, I determine how a differentiation between doctrinal and secular spirituality can be established. The importance of a rooted cosmopolitan outlook with respect to cross-cultural artistic manifestations is explored with the aim of synthesizing spiritual elements that transcend all cultures. The political, social and educational implications of ignoring spirituality are examined. A proposal to incorporate spirituality into education is introduced using art as a means to self-knowledge and understanding the implications of interconnectedness.
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2

Crooks, Theresa. "Spirituality, Creativity, Identity, and Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2013. https://digitalcommons.lmu.edu/etd/61.

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This research explores the question: how does an art therapist’s understanding of God as Creator form his/her identity and inform his/her clinical practice? A review was done in the art therapy, spirituality and psychology integration, and creation theology literature to look at existing research that answers this question. A lack of information in the art therapy literature prompted the development of this study to respond to this inquiry. This involved gathering data from LMU MFT graduates who expressed in a survey that they were willing to participate in this study. Four graduates were able to attend an art workshop to explore the research question. Qualitative data was gathered from observing the participants’ process, artwork, and discussion in the workshop as well as their written reflections sent in three weeks later. This data was analyzed by looking at emergent themes that were then compared with the literature. Two significant conclusions were drawn from the data. The first was that an awareness and understanding of God as Creator can provide a unique perspective of self and others that has a considerable impact on an art therapist’s view of his/her role and approach to clinical work. The second conclusion was that there is a powerful connection between spirituality and creativity, that when allowed to enter into the therapeutic space, can enhance transformation and healing. These conclusions have important implications for the training and practice of art therapists. Further research is recommended to expand the data as well as focus on specific areas that this research was unable to cover.
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3

Weglarz, Carolee. "Sculptured spirituality /." Online version of thesis, 1994. http://hdl.handle.net/1850/11955.

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4

Rowe, Lois. "The address of spirituality in contemporary art." Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/4198/.

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The thesis explores the use of religious themes and the notion of self-design in contemporary art practice. It argues that art today that addresses religion does so primarily for its rhetorical function: for a recognizable pattern of persuasiveness, which is ultimately defined by its established mechanisms of belief. Furthermore, it suggests that it is through an engagement with this secularized rhetoric that the art viewer today can potentially be provoked to re-create oneself in ones own terms; or, in Richard Rorty's terms, to 'revocabularize'.
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Famule, Olawole Francis. "Art and Spirituality: The Ijumu Northeastern-Yoruba Egungun." Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.

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Famule, Olawole Francis. "Art and spirituality : the Ijumu northeastern-Yoruba egúngún /." Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1372%5F1%5Fm.pdf&type=application/pdf.

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7

Lively, Jennifer L. "Spirituality and Healing: Multicultural Implications within Art Therapy." Digital Commons at Loyola Marymount University and Loyola Law School, 2011. https://digitalcommons.lmu.edu/etd/91.

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This study explores the experience that Art Therapy alums have had in regards to spirituality and healing within a multicultural framework and the implications of art. Narrative based questionnaires with creative art responses were used to gain information about their experiences of spirituality, healing, culture, and art. The data obtained was analyzed using phenomenologically-informed methodology: organized into tables and analyzed vertically and horizontally (Creswell, 1998), the creative art responses scored using FEATS (Gantt, 2009) analysis. From the analysis, clusters of meaning, similarities, and unique experiences emerged and were categorized into 21 emergent categories: Centering, Growth, Connection, Meditation, Prayer, Art as spiritual and healing, Spirituality as inner wisdom, Nature and spirituality, Spirituality as God within, Spirituality as different from religion, Change in religious status over time, Spirituality as changing over time, Spirituality as community, Spirituality as healing, Integration, Prominence of color, Amount of space used, Blend of abstract and concrete images, Inclusion of nature, Choice of Media, and Art responses connected to spiritually associated words. Three overarching themes emerged as relevant to understanding the significance of spirituality and healing within a multicultural framework and the implications of art: Spirituality as highly personalized form of integration, Spirituality as offering a sense of both personal and universal connection, and Art making as a spiritual, healing practice. This study found that all the participants had a rich experience with spirituality and healing, and that this concept of the personal spiritual for each of them did in fact situate itself inside a more multicultural construct. The findings indicate the importance and relevance for spirituality to be included as part of the dialogue in healing and therapy, and more broadly, in culture. Further, it was found that not only was art making implicated within the spiritual and healing process, it was, in fact, a main tool of the spiritual practice.
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8

Nguyen, Chau. "Spirituality, Mindfulness, and Art-Making in Mitigating Compassion Fatigue." Digital Commons at Loyola Marymount University and Loyola Law School, 2019. https://digitalcommons.lmu.edu/etd/774.

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This study is an art exploration of the combined use of mindfulness practice, cultivated through a body-scan meditation, and art-making in mitigating compassion fatigue for a beginning clinician. The researcher used an arts-based inquiry with a quantitative component in her data collection and analysis. A reliable, evidenced-based test was self-administered at the beginning and end of the data collection to measure compassion fatigue and compassion satisfaction. The arts-based inquiry included the researcher engaging in a body-scan meditation, journaling, and art-making over a period of four weeks as methods to process the relationship between mindfulness practice, art-making practice, and compassion fatigue in her clinical work at a community based mental health agency. The body-scan meditation provided insight into the clinician’s experiences and conceptual understandings. Journaling provided a tool for reflection and analysis of the researcher’s engagement in mindfulness and art-making. The art-making process offered a more in-depth understanding of the researcher’s application of mindfulness, as a tool, in clinical practice with her clients. The One-Canvas Process Painting can be utilized as a tool to reflect the researcher’s transformative learning process about her countertransference with clients. The data analysis in this study indicates that engaging in mindfulness practice and art-making practice can increase a beginning clinician’s compassion satisfaction within her clinical work.
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9

Wolfe-Alegria, Eduardo. "Meta/Physicals: Surrealism, spirituality and figuration in contemporary art." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/13634.

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In the following thesis entitled Meta/Physicals: Surrealism, spirituality and figuration in contemporary art, I focus on an interpretation of spirituality ultimately separate to religion, that encompasses notions of a vital force underpinning existence, which acknowledges the innate connectedness of all “things,” and which is open to notions of the paranormal, aiming to discuss this interpretation of spirituality, in relation to contemporary art and in particular to figurative contemporary art. In the first chapter, I address a number of ways in which contemporary art and art discourses relate to the spiritual with emphasis on those of the sublime and Jane Bennett’s New Materialism. In chapter two, I discuss a spiritual interpretation of both Surrealism and Critical Surrealism identifying them as appropriate discourses through which to address contemporary figurative-spiritual artworks when discussed in conjunction with New Materialism and the sublime. In chapter three, I explore the work of a number of contemporary artists whose work can be discussed through this interpretive “triangle”, and in chapter four, I discuss my own work and practice through this framework, relating it to the artists discussed in the previous chapter, asserting that through my practice and research I have identified appropriate discourses through which to discuss spirituality and figurative contemporary art together. The creative work generated in relation to this research is a large scale watercolour and ink painted quadriptych, approximately 430 cm by 240 cm, to be exhibited in the Sydney College of the Arts Post-Graduate Exhibition in December 2014. The painting will be floated off the free-standing wall in section D3 of the SCA galleries. The painting depicts an underwater environment, part ocean part cosmos, in which animals, humans, plants, bones and shells, coalesce and disperse in a kind of murky underwater mélange. In this work, the ocean serves as a metaphorical underpinning with its manifold connotations of creation, destruction and rebirth, setting the stage for a contemporary myth, which at its core celebrates our inert connectedness, cycles of life and death, and the overwhelmingly abundant vitality that flows through us all.
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10

Hoover, Holly Lynn. "Diamonds in the rough : a journey of human spirituality /." Online version of thesis, 1993. http://hdl.handle.net/1850/11742.

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11

Guion, David Stanton. "A STUDY OF SPIRITUALITY IN CONTEMPORARY VISUAL ART AND FOUNDATIONS FUNDING." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1210694707.

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12

Salmassian, Leyla. "Spirituality and Art Therapy: The Practice of Sufi Zikr, Sufi Meditation Tamarkoz and Art-Making From an Art Therapist’s Lens." Digital Commons at Loyola Marymount University and Loyola Law School, 2017. https://digitalcommons.lmu.edu/etd/298.

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This research examines the effects of a daily, ritualistic, intentional practice of Sufi meditation Tamarzok, Sufi Zikr and art making in the life of a female art therapist graduate student, in a transitional professional and developmental stage of life. The general psychology and art therapy literature were examined to look at contemporary understanding in the integration of spirituality and art in mental health. A lack of information in the art therapy literature prompted the interest in the development of this study to respond to this inquiry. This art-centered research informed by a heuristic, phenomenological, dialectical inquiry of self-examination, encompassed the practice of Sufi Zikr and Sufi meditation Tamarkoz as understood from the perspective of the Sufi Order Maktab Tarighat Oveyssi Shahmaghsoudi School of Islamic Sufism, followed by art making as a way of documenting and contextualizing the qualities of the internal and external emotional landscapes to uncover themes and broaden self-knowledge in the support and enhancement of growth and well-being. The data was analyzed by looking at emergent themes. Conclusions drawn aligned the combined practices of art making and spirituality to that of a relational home where the Self and all parts of the psyche can coexist and contextualized for meanings to emerge and healing to take place. The findings of this inquiry were in overall alignment with the reviewed art therapy literature; gaps in the reviewed literature were noted in the exploration of the somatic component of the practice of art making as it relates to healing. Further research is warranted to expand and explore the data and the uncovered areas.
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Smith, Tara Lynn. "Art for life a spiritual journey of art and the bonds of community /." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-05212009-143136/unrestricted/professionalpapertarasmith.pdf.

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Thesis (M.A.) -- University of Montana, 2009.
Title from author supplied metadata. Description based on contents viewed on August 30, 2009. Author supplied keywords: Art and community, art with alternative populations, spirituality and art, art with people who are homeless . Includes bibliographical references.
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Hood, Yolanda. "African American quilt culture : an afrocentric feminist analysis of African American art quilts in the Midwest /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974639.

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15

Houk, Thomas F. "Issues of surface and spirituality in personal adornment." Virtual Press, 1992. http://liblink.bsu.edu/uhtbin/catkey/864918.

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The primary objective of this creative project was to develop an understanding of the relationship between objects of personal adornment and the spirituality of our contemporary culture. The secondary objective was to produce one-of-a-kind jewelry and table objects that invited the viewer to contemplate the unconscious or intuitive meaning of the pieces. These objects were intended to be reflective of the spirituality of our culture. This body of work employed traditional and non-traditional craft techniques.
Department of Art
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16

Lee, Andrea Kathleen Wahlman Maude. "Envisioning the sacred expressions of spirituality by contemporary women artists /." Diss., UMK access, 2006.

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Thesis (Ph. D.)--Dept. of Art and Art History and Center for Religious Studies. University of Missouri--Kansas City, 2005.
"A dissertation in art history and religious studies." Advisor: Maude Southwell Wahlman. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 29, 2007. Includes bibliographical references (leaves 354-398). Online version of the print edition.
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17

Bell, Simon Nicholas. "Drawing on the end of life : art therapy, spirituality and palliative care." Thesis, University of Sheffield, 2008. http://etheses.whiterose.ac.uk/14518/.

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Art therapy practice in palliative care offers a creative way of responding to the emotional, psychological and spiritual needs of the dying individual within the principles of integrated whole person care. In this research spirituality is identified and defined through a retrospective 'critical and imaginative ethnography of the everyday'. The methodology described in chapter two focuses on the ethnographic imagination and incorporates a reflexive approach to define the meaning-making that takes place in art therapy with people who are living with a life-threatening illness. The case studies focus on the artefacts created by the terminally ill and dying person within a typical art therapy intervention. The analysis reveals a variety of meanings attributed to the artefact with a particular emphasis on the spiritual significance of the art-making process and the drawings and paintings created. In order to achieve this reference is made to developments in practical theology as a way of throwing light on how art therapy can facilitate the expression and exploration of spiritual and religious areas of need. This is important for art therapy practice as spirituality in hospice and palliative care is considered to be an important concern and an essential dimension of support. The modem hospice movement has always valued this aspect of the experience of the terminally ill patient and continues to pay attention to the meaning of dying and death and its spiritual significance. The analysis of the art-making process and the artefacts in art therapy demonstrates the profound importance of meaning-making at the end of life. This also provides evidence of the contribution that art therapy can make to palliative care. This adds to the support of the continued relevance and preservation of a psychosocial model of care that integrates the emotional, spiritual, psychological, physical and social aspects of patient care. It also raises the profile of the pastoral dimension to care of the dying by placing art therapy as an allied profession to the role of chaplaincy within health care contexts. The argument in this study is that the integrated approach cannot be assumed to be a secular stronghold that ultimately marginalises the religious and spiritual significance of cultural and social relations. Spiritual and religious meaning continually refuses to disappear and occupies a significant place within the economy of health care practice. Throughout the modem hospice movement it has been argued that the bio-medical model has to be continually challenged and critiqued in order to prevent the erosion of psychosocial aspects of care. Equally, the organisations that provide the environment of care for the terminally ill and dying person need to foster a culture of open, reflective debate and dialogue to avoid institutionalised attitudes and behaviours becoming established that can ultimately crush the human spirit. Art therapy contributes to the community of hospice and palliative care as an integral part of the complex cultural and religious dimensions of human experience at the end of life.
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18

Crowley, Marie Therese. "Beyond the fringe of speech: The spirituality of Evelyn Underhill and art." Thesis, Australian Catholic University, 2008. https://acuresearchbank.acu.edu.au/download/d5e0a109fef305207e3ef0ab0cc421e1f726d991104dca79fb99ca816f573b71/2922844/64836_downloaded_stream_61.pdf.

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The written works of the English religious writer, spiritual director and exponent of Christian spirituality, Evelyn Underhill (1875 - 1941), contain numerous references to visual art and church architecture. This thesis explores the influence of art on her spirituality by examining her interpretation and understanding of various works of religious art, cathedrals, churches and chapels. The controlling methodology of the thesis is within the discipline of spirituality. This hermeneutical approach, which seeks to investigate and understand the phenomena of the Christian spiritual life as experience, is structured on three processes: observation and description of the phenomena under investigation, critical analysis of the data, and constructive interpretation of its transformative and integrational character. The study presents Underhill's early life, reading and education within the Anglican tradition as the backdrop against which her appreciation for art and knowledge of Christianity developed. This knowledge came to life through the experience of Continental Europe and in particular the galleries and churches of Italy and France. While there her sensitive and intuitive personality enabled Underhill to be drawn into the beauty and mystery of visual art and church buildings. In that experience, she came to a new awareness of God. The thesis traces Underhill's encounter with fourteen works of art, one cathedral and several churches and chapels. It follows the process of how these shaped her experience, stirred her imagination and informed her thinking so that they gradually became a foundation on which she established her particular understanding of God and the spiritual life. The investigation approaches her encounters with art by examining their influence on her concept of God, on her perception of Jesus Christ and on her understanding of the Holy Spirit. This leads her to a personal understanding of God as the Creative Spirit.;This particular perception, together with her experience of art, enables Underhill to recognise a structure within the spiritual life of grace and desire that is enabled by the gifts of the Creative Spirit and expressed through adoration, communion and cooperation. Integral to this progression in Underhill's spirituality is the gradual process of life integration through self-transcendence evident in her spiritual journey and which this thesis traces and develops. Informed by intuition and experience rather than by theological concepts, doctrinal statements or scripture, Underhill never developed a systematic theological structure. The thesis investigates the implications of this on Underhill's spirituality, particularly in reference to her understanding of the Trinity. The thesis argues that although she was aware of the more formal aspects of Christian teaching, in her understanding of the spiritual life Underhill placed more emphasis on image and place. While the focus of the thesis is the influence of art on Underhill's spirituality, this inquiry draws also on those determining aspects of her life, of the circumstances and events of the times and of religion in general which were formative of her spirituality. Thus at times throughout the project there is an overlap of philosophy, theology, anthropology, epistemology and aesthetics - all of which are at the service of the overarching methodology of spirituality. The thesis concludes with the contention that while visual art was not the only guiding inspiration in Underhill's spirituality, it was a major influence on her spiritual development, on her understanding of the spiritual life and on her teaching.
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Goldsberry, Clark Adam. "Un/Doing Spirituality: Contemporary Art, Cosmology, and the Curriculum as Theological Text." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7176.

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Talking about spirituality can be uncomfortable. The topic is especially precarious within the sphere of education. Despite the discomfort and precarity, many scholars argue that there may be room in the postmodern curriculum for safe, open, and generative dialogue about religion and spirituality as cultural phenomena. These curriculum theorists (see Slattery, 2013; Doll, 2002; Huebner, 1991; Noddings, 2005; Whitehead, 1967a/1929; Wang, 2002) propose a sensitive critique of spirituality and religion that can lead to cultural healing, re-membering, re-integration and re-collection (Huebner, 1991). In an increasingly fractured world (Slattery, 2013), where spiritual and religious underpinnings cause an array of conflict, this study works toward critical dialogue in a secondary level public school art classroom. Through art-making, writing, and class discussions, the teacher and student researchers explored, critiqued, and de/constructed their own spirituality—with the aim of aggregating, accommodating (Rolling, 2011) and appreciating ways of thinking, being, and practicing that were different from their own. The project adopted A/r/tography as a qualitative research methodology, which views art-making, writing, and conversations as generative pools of data that can produce new understandings, meanings, and potentialities (Irwin et al., 2006; Irwin & de Cosson, 2004; Irwin & Springgay, 2008).
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20

Hitchmough, Ruth Wendy. "Studies in the symbolism and spirituality of the arts and crafts movement." Thesis, University of Sussex, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340859.

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21

Asbo, Kayleen Elizabeth. "Passion and paradox| The myths of Mary Magdalene in music, art and culture." Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3734016.

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Throughout the centuries, Mary Magdalene has occupied a unique position within the religious history of the West as the woman who has carried the collective Shadow of Christianity. In every epoch, Mary Magdalene stands at the crossroads of cultural tension and psychological paradox, holding countless images, projections and societal concerns, inspiring millions of acts of devotion and masterworks of art and music.

This dissertation explores the mythology of Mary Magdalene from her earliest appearances as the faithful witness, disciple and apostle in the New Testament and apocryphal gospels through her later legends as a prostitute, contemplative hermit, princess and priestess, with particular attention paid to artistic and musical portrayals. I suggest that the emerging composite portrait of the 21st century is a healing image of wholeness that integrates all four aspects of the female psyche articulated by Toni Wolff (the Hetaira, Mother, Medial and Amazon) and that Mary Magdalene points the way to a reclamation of the sacred feminine and a reinvigoration of spiritual life.

Magdalene as an icon and mirror of cultural transformation is evident in recent contemporary classical music works, particularly in Mark Adamo's opera The Gospel of Mary Magdalene. My experiences as resident mythologist for the San Francisco Opera during the world premiere of this work form the basis for my observations of the enormous transformational impact of images and stories of Mary Magdalene drawn from the apocryphal gospels and Gnostic tradition. Magdalene as woman who embodies anthropos, or full humanity, has become a catalyzing bridge for individual personal development and communities of diverse scholars and seekers.

This dissertation culminates with a multimedia dramatic production inspired by Medieval mystery plays. The Passion of Mary Magdalene interweaves Taize chants, instrumental music of Estonian composer Arvo Part, traditional Christian hymns and my original compositions with a text drawn from both the Canonical Gospel and the Gospel of Mary and includes images taken from pilgrimages to Mary Magdalene sites in France.

Key words: Magdalene- Christian spirituality- Gnostic-Sacred Feminine- Toni Wolff- Carl Jung

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Kent, Annette. "Art Therapy and Spirituality in Treatment of an Adolescent female who expreirenced Sexual Assault." Ursuline College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=urs1210530808.

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23

Phillips, Dianne Tisdale. "The Illustration of the Meditations on the Life of Christ| A Study of an Illuminated Fourteenth-Century Italian Manuscript at the University of Notre Dame (Snite Museum of Art, Acc. No. 85.25)." Thesis, Yale University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10160872.

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For more than fifty years, the Meditationes Vitae Christi (MVC) and the most famous of its illustrated manuscripts (Paris, Bibliothèque nationale, Ms. ital. 115) have been employed by scholars to exemplify late medieval female spirituality. The mid-fourteenth century ilhuminated manuscript of the Meditationes in the Snite Museum of Art at the University of Notre Dame that is the subject of this dissertation provides valuable evidence of the popularity of the famous text originally written for a woman religious and its appropriation by urban laity. As an example of the shorter text, in Italian, with 43 chapters plus prologue, its 48 large colored miniatures and the decorated initials that begin each chapter, point to a wealthy patron quite unlike the Poor Clare to whom the MVC text was initially directed. The style of the miniatures indicates that the manuscript was illuminated ca. 1350 in Bologna, site of the pre-eminent European university for the study of law.

The dissertation explores how the Meditationes Vitae Christi was adapted for an educated and prosperous husband and wife. While written in the vernacular, the Snite MVC illuminations bear a strong resemblance to the illustrations in fourteenth-century Bolognese legal manuscripts. Despite the vivid and often unconventional imagery of the text that is designed to stimulate the reader's affective response to its re-telling of the story of the life of Christ, the miniatures tend to preserve traditional iconographies. The superficially conventional Snite miniatures, which often seem indifferent to the visual specifics of the text, serve to align it with orthodox doctrine and underscore the veracity of its contents.

An analysis of the illuminations of the Snite MVC reveals a particular attentiveness by the illuminator to the representation of male exemplars that would appeal to an elite educated patron, who might have been a judge or lawyer, or law professor. The Infancy miniatures in particular depict St. Joseph in a prominent role and dressed as a late medieval professional man The dignified representation of St. Joseph is consistent with his scriptural appellation as a "just man " By attending to the themes of justice and wisdom in both the MVC text and in its scriptural sources, the Snite miniatures prove to be much richer in meaning than first glance would suggest, and their affinity with legal manuscript illumination hardly accidental.

The iconographic analysis of the Snite miniatures is complemented by the study of the social and intellectual context in which the manuscript was produced. Despite the seeming simplicity of the miniatures, the illuminator and his advisor prove to be theologically sophisticated and scripturally literate. By means of the illuminations, the MVC is made compatible with the religious and professional concerns of the elite laity, providing access for men wielding worldly authority into the life of Christ in which powerful and learned men play largely negative roles. The Snite manuscript responds to the lay patron's desire to see in the example of Christ and the events of his life confirmation of late medieval social, juridical, and political structures. In its miniatures, it provides saintly models for the educated laity desirous of reconciling their Christian commitments with the demands of an active, urban, professional life.

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Sullivan, Joyce Lorraine, and mikewood@deakin edu au. "The revelationary art of Joyce Lorraine Sullivan :An artist's experience of her inner dimensions, an inner journey of discovery." Deakin University. School of Communication and Creative Arts, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20060825.113351.

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Mina, Gianna Antonia. "Studies in Marian imagery : Servite spirituality and the art of Siena (c. 1261- c. 1328)." Thesis, Courtauld Institute of Art (University of London), 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261093.

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O'Keeffe, Anne. "The art of presence : contemplation, communing and creativity /." Connect to thesis, 2009. http://repository.unimelb.edu.au/10187/7072.

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The Art of Presence: Contemplation, Communing and Creativity reflects on the making of a dance theatre work called Song of Longing presented at Victorian College of the Arts in 2008. Song of Longing was made in collaboration with the cast, who participated in a process centred on improvisation. The resulting performance was a synergy of dance and unaccompanied singing.
The thesis is an investigation of the choreographer's ongoing exploration of movement, singing and improvisation, informed by Buddhist philosophy. Both the writing and the performance mirror an embodied practice - making tangible themes and concepts that have emerged into consciousness.
Central interests include the ‘life-world’ of the artist and its influence on the creative process, the concepts of spirituality, spirit and ‘flow’, the experiential focus of the inquiry, improvisation as presence and the value of art as healing and therapy.
While the perspective of the writing is drawn from the subjectivity of the practitioner, the aim of the work is to draw on the broader fields of research in these areas and to connect with the creative practices of other artists. To this end, a conventional survey of the literature has been augmented by writings and teachings on Buddhism and other spiritual practices, documentaries and visual art. Interviews with artists in Australia and India and thoughts from the performers of Song of Longing are also included.
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Adamowicz, Emily. "Viennese Expressionism : from sickness to spirituality in the new aesthetic theory 1909-1913." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99567.

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Viennese Expressionism 1909-1913 encompasses parallel evolutions in the disciplines of visual arts and music. Ideas from fin-de-siecle Vienna's intellectual milieu inspired the awakening of the Modern artist, from Ur-schrei to the formation of a new aesthetic theory. In this thesis, I examine the origin of iconic Expressionist aesthetic values and their technical expression in works by Arnold Schoenberg, Egon Schiele, Oskar Kokoschka, and Wassily Kandinsky. Topics covered are divided into two broad thematic categories whose central tenets originate in preoccupations with, on the one hand, an emerging understanding of the unconscious and psychic pathology; and on the other hand, the metaphysical components to art and the human experience: sickness and spirituality. While it is not possible to compare directly art and musical works, common ideas and principles provide conceptual intersections that unify the disciplines in the realization of a collective artistic vision.
Le mouvement expressionniste viennois (1909-1913) recouvre des courantsparallèles dans les disciplines picturales et musicales. Les idées provenant des milieuxintellectuels du fin-de-siècle viennois ont inspiré le réveil de l'artiste moderne, depuis leUr-schrei jusqu'à la formulation d'une nouvelle théorie esthétique. Ce mémoire examinel'origine des valeurs esthétiques chères au mouvement expressionniste, ainsi que lestechniques utilisées pour exprimer ces valeurs dans les oeuvres d'Arnold Schoenberg,d'Egon Schiele, d'Oskar Kokoschka, et de Wassily Kandinsky. Les thèmes abordés sontdivisés en deux grandes catégories dont les fondements centraux émanent depréoccupations reliées, d'une part, à une compréhension croissante de l'inconscient et dela psychopathologie, et, d'autre part, aux aspects métaphysiques de l'art et de l'existencehumaine: la maladie et la spiritualité. Bien qu'il ne soit pas possible de comparerdirectement des oeuvres picturales et musicales, l'existence de principes et de thèmescommuns entraîne une confluence conceptuelle qui unifie ces disciplines dans laréalisation d'une vision artistique collective.
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Espinosa, Amaris. "Art As A Mindfulness Practice." Antioch University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1537904782837034.

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Woodhams, Elizabeth Jean Deshon Smith. "The ethics of art : an exploration of the role and significance of art/artists in health care settings." Thesis, Queensland University of Technology, 1995. https://eprints.qut.edu.au/15883/1/Elizabeth_Woodhams_Thesis.pdf.

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The presence of art and artists in health care settings raise many questions of an ethical nature. The presence of art in such milieux challenges the manner in which notions of art, persons, health, healing, community, ethics and aesthetics are presently conceptualized. This thesis will argue that art ought properly be considered an essential human need - integral to the health, flourishing and well-being of all persons - particularly those who are sick and suffering. An ethical care of sick persons would demand that both artistic practice and health care practice be revisioned in the light of this different understanding.
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Woodhams, Elizabeth Jean Deshon Smith. "The Ethics of Art - An Exploration of the Role and Significance of Art/Artists in Health Care Settings." Queensland University of Technology, 1995. http://eprints.qut.edu.au/15883/.

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The presence of art and artists in health care settings raise many questions of an ethical nature. The presence of art in such milieux challenges the manner in which notions of art, persons, health, healing, community, ethics and aesthetics are presently conceptualized. This thesis will argue that art ought properly be considered an essential human need - integral to the health, flourishing and well-being of all persons - particularly those who are sick and suffering. An ethical care of sick persons would demand that both artistic practice and health care practice be revisioned in the light of this different understanding.
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LE, BA AN. "Evening Flash in the Dusking of the Sun." Thesis, Sydney College of the Arts, 2019. http://hdl.handle.net/2123/20117.

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32

Tapley, Howell E. "A study of perceived stress, anxiety, somatic symptoms, and spirituality in practitioners of the martial art aikido." Thesis, Birmingham, Ala. : University of Alabama at Birmingham, 2007. https://www.mhsl.uab.edu/dt/2007p/tapley.pdf.

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Whitehand, Dawn. "Evoking the sacred : the artist as shaman." Thesis, University of Ballarat, 2009. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/64909.

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This thesis examines, via a feminist theoretical framework, the systems in existence that permit the ongoing exploitation of the environment; and the appropriateness of ceramics as a medium to reinvigorate dormant insights. I argue that the organic nuances expressed through clay; the earthy, phenomenological and historic ritual connotations of clay; and the tactile textured surfaces and undulating form, allows ceramics to conjure responses within the viewer that reinvigorates a sense of embedment in the Earth.
Doctor of Philosophy
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Sunderland, Sophie Monica May. "Representations of the secular : neutrality, spirituality and mourning in Australia and Canadian cultural politics." University of Western Australia. English and Cultural Studies Discipline Group, 2009. http://theses.library.uwa.edu.au/adt-WU2009.0177.

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[Truncated abstract] This thesis explores the ways in which 'the secular' is represented in contemporary Australian participatory art, screen, and print cultures. Secularisms are currently the subject of analysis in a broad range of disciplines within the humanities, and this thesis intervenes upon the field by focusing on the cultural politics of representations of embodied, spatialized secularisms. The secular is commonly defined in opposition to the 'religious,' and can also be extrapolated to the division of public and private spaces. Thus, by considering the occlusions and violences inherent in the ways bodies negotiate and are constructed through space, this thesis argues for the fluidity and porosity of these oppositions. By drawing from Janet Jakobsen and Ann Pellegrini's notion of secularisms, understood as specific, situated narratives of the secular, as well as Talal Asad's and William E. Connolly's conceptions of the secular, this thesis identifies 'neutrality' and 'spirituality' as two key narratives of the secular around which questions of language, embodiment, affect, and subjectivity are set in motion. Here, a regime of representation that constructs 'religious' subjects as outsiders to an imagined Australian national identity is critiqued and reconsidered in terms of anxieties about remembering and living with difference and loss. Rather than defining 'the secular,' this thesis seeks to maintain focus on the context and contingencies of enunciation. Thus, firstly the conflation of secularism with 'neutrality' and 'objectivity' is explored through a discussion of 'defining' secularisms, alongside critique of representations of the Oxford English Dictionary (OED). By identifying the ways in which this 'everyday' text signals exclusions through the privileging of British Protestant Christianity in its contents, colonial history and usage, I consider how 'neutrality' is made contextually and contingently. ... . Here, secular mourning is a suggestive concept that foregrounds 'affective economies' of loss, grief, and mourning alongside openness to the ways in which identity is made and lived relationally, and differently. Given that the representations of Australian secularisms I identify are made by locating 'the religious' elsewhere, this thesis reflects upon this process by including a contingent comparative study of representations of Canadian secularisms. Participatory art including the Secular Confession Booth (2007) in Toronto and The Booth (2008) in Perth, news media debates about secularism in Ontario and
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Warr, Cordelia. "Female patronage and the rise of female spirituality in Italian art of the thirteenth and fourteenth centuries." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/3957/.

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This thesis deals with the two partially interlocking aspects of female patronage and female spirituality in Italian art during the thirteenth and fourteenth centuries. My aim has been to expand the knowledge of this subject not through a detailed examination of one female patron, her spirituality, and how it affected her commissions, but through a number of representative examples in order to show the breadth and diversity of women's influence over art, both active and passive. I have therefore surveyed previous assumptions on female patronage and the opportunities that existed for it, taking a number of smaller examples so as to lay a base for my later arguments. One of the main problems that emerged was a misunderstanding of the clothes depicted as being worn both by the subjects of the paintings and by the donors, and also the subjective use of clothes in order to put across a message. This aspect also bears on the variety of women's religious experience which underlies the whole of this investigation. It forms a base for my chapters on commissions by and for the Poor Clares and the female Vallombrosan order. Finally, I have looked at two examples of lay female patronage only one of which takes a woman as its subject, and examined the reasons for the choice of subject in relation to the spiritual influences of the commissioner and also the ways in which the direct influence of the patron can be assessed. My research has indicated that both lay women and nuns were not only capable of paying for ambitious projects but that they could also positively affect their iconography. Women's influence over art during this period, and the impact of their spirituality on it, both actively and passively, has only previously been investigated in a few instances. The aim of this thesis is to provide an overview of the female patronage and female spirituality in art and to show that women's influence over art was present in many spheres of society and was not an exception to the rule.
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Rups-Eyland, Annette Maie, University of Western Sydney, of Arts Education and Social Sciences College, and School of Social Ecology and Lifelong Learning. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." THESIS_CAESS_SELL_Rups-Eyland_A.xml, 2002. http://handle.uws.edu.au:8081/1959.7/771.

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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
Doctor of Philosophy (PhD)
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Waite, Renée B. "African Concepts of Energy and Their Manifestations Through Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1469715071.

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Rodney-Haapala, Karin J. "Constructing Narrative Through Illness." Thesis, Corcoran College of Art + Design, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1557693.

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Transformative learning theory, an andragogical (adult) theory, is developed from the psychoanalytical theories of Sigmund Freud and Carl Jung and later formalized by sociologist, Jack Mezirow. Incorporating transformative learning into a multidisciplinary perspective, specifically through art making and critical reflection, can read therapeutic results of confronting trauma and illness. Using qualitative arts based research methodologies such as autoethnography and autophotography to address the question, how might the use of Combat-Related PTSD as the foundation of a photographic and written inquiry trigger a transformative learning experience in both the artist-researcher and the viewer can be explored through the use of visual imagery and written narrative. These components are integral in constructing a cohesive narrative that may assists those who may suffer from illness and/ or trauma. As a noted method in art therapy, patients who are diagnosed with Post Traumatic Stress Disorder (PTSD) utilize nonverbal communication, i.e. visual imagery, as an avenue to reconsolidate their memories and experiences. Using visual imagery, allows the internal narrative of the body to be reflected externally. The significance of the research is to explore art as a healing and therapeutic modality, individually and collectively, for those who suffer from Combat related Post Traumatic Stress Disorder.

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Van, Fleet Alan. "The Hero's Journey." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/246.

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My ongoing series of assemblages are an expression my modern mythology through the juxtaposition of esoteric symbols and my collection of beloved action figures. Though myth is founded in partial truths and allegories, it has the unique capability to speak about our relationships to one another and the universe. My artwork conceives of anime, comics, and videos games as part of our contemporary mythology. Inspired by a fusion of pop culture and spirituality, I also draw on the magical properties attributed to flowers, gemstones and other materials to create shrines, altars, and other objects. Juxtaposing these properties, found in my research of esotericism and mythology, with action figures establishes symbolic connections that act as an interface to the spiritual symbolism explored in each piece. The collision of masking tape, shoe polish, flowers; gemstones and repurposed objects result in re-contextualizations of characters from popular culture. My practice suggests new possibilities for cultural symbolism reflective of my own unique experiences and values and as an active expression of creative freedom in our experiences of the divine. My assemblages re-examine traditional categorizations in art and culture, such as sacred and profane and high and low, while attempting to demystify the veil that separates the experiential from the transcendent.
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Koniar, Martin. "Vazbení." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2019. http://www.nusl.cz/ntk/nusl-377162.

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My diploma work is an installation, made from multiple instances of a device iniciating string resonance via electromagnetic field. These devices along with strings are placed on the wall in geometrical shape. Installation creates loop on multiple levels. Except the fact that installation have a circular shape, position of each string starts at the end of another string. Second, more inconspicious loops takes place in the electromagnetic device resonating the strings, that do that with feedback loop. Strings consist every step of chromatic scale, that repeats itself, just an octave higher. Amplification of the final sound of strings is done purely acoustically, with help of the wall on wich the piece is installed. This piece is in its nature concerned with spirituality in music, not necessarily in sense of evoking a spiritual experience, but rather demonstrating metaphors and parallels, that exists between physical aspects of tonal music and different religious ideas. The symmetrical shape of installation refer to religious and occult visuality, built f.e. in cabal on Fibonacci numbers, that is present not only in nature ( for example, the veins of the leaves grow by these numbers), but also in tonal music system (ancient philosophers were working with this concept, see Plato's Music of the Spheres). Strings in this piece produce drone sound, that is naturally evoking spirituality (most visible in buddhist monk meditation). This sound in the piece demonstrates immutability and constancy, the fact that all the chromatic tones are playing demonstrates wholeness (this fact may produce interesting resonances emerging between chromatic steps), so to speak, the unchangeable laws of physics, or to put it in religious lingo, the god law. The symbol of loop also refers to religion, like the eternal return of the same, the periodicity of history. Strings can be viewed as astrophysical symbol. Everything stated is nothing but my recourse, that should not ultimately determine the perception of the piece by viewer. The goal of the work is to offer experience without need to be put into context
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Diamond, Shawn E. "Requiem for the Shadows: Poetry, Spirituality, and Future Memory in the Light Strings of Felix Gonzalez-Torres." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461781004.

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42

Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.

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43

Corry, Maya. "Masculinity and spirituality in Renaissance Milan : the role of the beautiful body in the art of Leonardo da Vinci and Leonardeschi." Thesis, University of Oxford, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669816.

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44

Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual." Thesis, View thesis View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/771.

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The outward form of the text in which the spiritual search is housed is 'performance-ritual', that is, performed 'ritual'. This genre has its 'performance' roots in the dance pioneers and its 'ritual' roots in the Christian church. The contents of this performed text is influenced by an emerging ecofeminist consciousness. In this way, the thesis has a grassroots inspiration as well as crossing academic areas of performance studies, ritual studies, and feminist spirituality. The project begins by an examination of 20th Century feminist and ecofeminist writing on spirituality, which evokes the subjective, embodied and historically contextualised, with particular focus on body and nature. Additional concepts of place, holding and letting go are introduced. Particular performance-rituals are introduced under the overall heading 'the spiralling journey of exorcism and ecstacy'. They include earlier work, as well as work performed specifically for this thesis, Centre of the Storm. The study re-situates 'ritual' as a subjective, embodied and contextualised performed event. It challenges ritual discourse to incorporate 'spirit', and feminist spirituality to incorporate the material world, through 'place', 'family', and the ritual actions of 'holding' and 'letting go'.
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45

Martone, Dragani Concetta. "Between Heaven and Earth: Negotiating Sacred Space at the Church of the Certosa di San Martino in Early-Seventeenth-Century Naples." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/200336.

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Art History
Ph.D.
At the beginning of the viceregal era, the Certosa di San Martino, a Carthusian monastery of medieval foundation, experienced a resurgence that culminated in the rebuilding of its church starting in the late 1580s. The new church of the Neapolitan Certosa featured an innovative design and an extensive and complex decorative program that distinguished it from all other churches of the order. This dissertation examines the rebuilding of the church of the Certosa di San Martino as a process deeply rooted in the changing religious culture of the time and one that also reveals the tensions inherent to the redefinition of monastic identity in Post-Tridentine Spanish Naples. The development of the Carthusian project paralleled the institutional re-organization of the order, but it also assumed a unique trajectory aimed at highlighting the role of the white monks and contemplative spirituality in the production of sanctity in Naples. By tracing the evolution of the rebuilding initiative within its proper cultural, religious and social context, I clarify the goals of the patrons and the expectations placed on the artists, and I define the scope of the project according to new parameters of spiritual authority. The reconstruction of the rebuilding process relies on primary sources from the Neapolitan State Archives and on recent historical and archaeological research, in addition to comparative studies. This dissertation challenges the view of Post-Tridentine monastic architecture as a mere response to the new liturgical requirements and sides with more recent interpretations by seeing monastic sacred spaces as dynamic places of exchange, and their designs and decorations as expressions of the spiritual authority of the monastic body they house. The rebuilding of the church of the Certosa di San Martino stands as an important example of the process by which spiritual authority was produced and redirected in Spanish Naples. Since 1973, when the first and only monograph on the art of the Certosa di San Martino was published, studies have been sporadic and limited to the analysis of particular works contained in the church. I analyze the new architectural plan and decoration of the church as fundamentally bound to the transformation of Spanish Naples into a holy city.
Temple University--Theses
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Stermotich, Cappellari Francesco. "Spiritual in Islamic calligraphy : a phenomenological approach to the contemporary Turkish calligraphic tradition." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31386.

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The aim of this thesis is to highlight the relevance of the spiritual dimension of Islamic calligraphy, focusing on the Turkish contemporary calligraphic tradition. Academic literature in the field has been dominated by the tendency to focus on the objects produced by artists, neglecting their personal experience and understanding of the art. Using a phenomenological perspective, I give voice to calligraphers I met in Istanbul and Konya, letting emerge their views on issues related to the relationship between art, religion and spirituality. I explore several themes that have arisen from the interviews I conducted with fifteen exponents of the contemporary tradition, organised as a journey from the most material aspects to the most abstract ones. The exploration of these themes starts with the symbolism hidden behind physical calligraphic tools, moving to the analysis of the symbolism of the point and the letters, elementary forms of the calligraphic creations. The bodily dimension has been taken into consideration, showing how the control of the body is an essential aspect of the calligraphic practice. The art can be conceived as a pathway requiring the development of several moral qualities and virtues, all necessary to improve both the artistic capabilities and the spiritual maturity of the practitioner, until the achievement of the authorisation to teach the art. Once a calligrapher reaches the license and the mastery of the art, they bear the responsibility of transmitting the art to others. Furthermore, they become agents of remembrance, portraying in the most beautiful manners the verses of the Quran in social religious spaces, as in mosques, or on calligraphic panels acquired by individual collectors or museums. Since their artwork focuses on representing religious materials, including the remembrance of the attributes of God and of Prophet Muhammad, their art is considered an act of worship. Finally, I investigate what the meaning of Divine Beauty is in Islamic calligraphy, presenting the perspectives of Turkish calligraphers and analysing the connections between the artistic form and the meaning of the contents of specific calligraphic works. In conclusion, I have not limited my analysis to the formal aspects of the art, rather I have highlighted the existential dimension of a complex practice which connects together several aspects of the human being, including the spiritual dimension. Thus, the traditional stream of Turkish contemporary calligraphy can be seen as a full manifestation of a culture, a lifestyle and a religion.
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Rups-Eyland, Annette Maie. "Centre of the storm : in search of an Australian feminist spirituality through performance-ritual /." View thesis View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20031222.160235/index.html.

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Thesis (Ph.D.) -- University of Western Sydney, 2002.
A thesis submitted in full requirements for the degree of Doctor of Philosophy, School of Social Ecology and Lifelong Learning, University of Western Sydney, May 2002. Bibliography : p. [369]- 395.
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Scheuer, Benedict Leo. "A Spiritual Ecology of the Line." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587552184531075.

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Dalton, Jane Emily. "Awakening the spirit /." Online version of thesis, 1987. http://hdl.handle.net/1850/10311.

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Ferrigno, Andrea Ann. "Processing information." Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2491.

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