Search Results (26)

Spanish mystic Saint Juan (John) of the Cross (1542–1591) began writing poetry while imprisoned by his own monastic order. He developed manuals for contemplation, in part, in the form of commentaries on his principal poems. Their first-person narrators were women who underwent metamorphoses in order to pursue love: one became a dove in her despair; another became flame itself; the last disguised herself as a knight. Juan explained that all three represented the soul that is seeking God. For readers, these metaphors could engender cognitive dissonance, through which they might step outside of themselves and move closer to union with the Divine. This process of human self-emptying and self-negation mirrored the self-emptying (kenosis) of Christ in traditional Christology and the negation (apophasis) of human pretense at knowledge about God in apophatic (“negative”) mysticism. Full article

This article examines the distinctive characteristics of Bonaventure’s interpretation of the experiential-sapiential knowledge of God based on some selected texts from his Commentary on the Sentences and De scientia Christi. In the first part, after having taken stock of the multiple meanings of experience in Bonaventure’s theology, we turn our attention to distinction 35 of the third book of the Commentary on the Sentences, where the Seraphic Doctor uses the phrase “cognitio Dei experimentalis” to describe the experience of God of contemplative and holy people. In the second part, we will examine the sense in which Bonaventure accounts for the experiential dimension of the knowledge of God in Christ’s human soul. Here we will deal with his work De scientia Christi, questions 6 and 7, which discuss the way in which the human soul of Christ knows “per excessum”, the uncreated Wisdom united with Him and the infinite things in the eternal Wisdom. At the end, we will briefly compare the basic claims of both works regarding the experiential knowledge of God made by contemplatives and by Christ. Full article

Post-Theoretical “creative–critical” research recently emerged in the discipline of Creative Writing as a collapse of the binaries between practice and Theory. This article shows that using this interdisciplinary methodology in the study of mysticism is a natural fit, illustrating its efficacy in a case study with the reflexive writing of the medieval Christian mystic Julian of Norwich. As a creative–critical writer and researcher, I explored the junctures where Julian’s poetics intersect with trauma-informed theology. Writing through these intersections formed a literary trauma-informed framework for the holding and processing of loss and grief through Julian’s nuanced modelling of mystical union with God. This case study shows how the framework came together critically and its application to contemporary ecological grief in the writing of a performative long poem, Blue: a lament for the sea. The “theopoetic” making process with two images from Julian’s texts, Christ’s “wounds” and “one-ing”, developed new language for liminal and spiritual experience. Insights from creative–critical research can be shared in artistic performance and publication in the academy and beyond in public impact. Bringing the whole self through theopoetics to the scholarly research of mysticism has the potential to form fresh insights, revealing new dimensions. Full article

Adopting a transdisciplinary approach, with specific emphasis on the post-Jungian transpersonal psychological theories on the ‘Spectrum of Human Consciousness’, this paper introduces a transpersonal psychological thread of understanding of ‘Mystical Consciousness’ through an interreligious field of comparative religious approaches to action, contemplation and non-action. This paper draws on Merton’s interreligious contemplative thinking in relation to three major world religious mystical traditions of Buddhism, Hinduism and mystical Islam/Sufism and elucidates comparative insights with the Christian mystical–contemplative tradition, akin to the ‘mystical contemplation’ of Evelyn Underhill. This paper introduces and applies the transpersonal perspective to the scholarly field of mysticism. The reader is invited to consider how Merton may have responded or written about interreligious contemplative depth mysticism in terms of his own writings on ‘pure consciousness’, had he had the benefit of the language of the transpersonal models of consciousness. Finally, the reader is left with a contemplative question at the ‘heart’ of mysticism—does the ancient sculpture of the Sleeping Hermaphrodite helpfully represent an art–theological symbolic analogy for the inner repose of an illumined soul, one with God’s Unity, in whose awakened consciousness through depth mystical contemplation, action occurs as an extended manifestation, a total gestalt of contemplative solitudinous action? Full article

The comparison between Hesychasm and Sufism focuses on their respective mystical practices: the Jesus Prayer in Hesychasm and Dhikr in Sufism. Both traditions emphasize withdrawing from worldly distractions to achieve spiritual purity and communion with the divine. In Hesychasm, practitioners use the Jesus Prayer to attain inner stillness and experience divine light, aiming for a state of contemplation where the mind is enveloped in spiritual radiance. Similarly, Sufism’s Dhikr involves a repetitive invocation of Allah’s name to achieve spiritual awareness and unity with God, promoting inner tranquility and protection from negative influences. Both practices stress the continuity of prayer and the progression from vocal to mental recitation, fostering deep spiritual states. Despite theological and doctrinal differences, both traditions share a universal quest for mystical union and emphasize the transformative power of spiritual practice in achieving a direct connection with the divine. These practices continue to shape spiritual life in their respective religious contexts, illustrating common themes of seeking spiritual enlightenment through disciplined meditation and prayer. Full article

The cultural renaissance in 20th-century India has fostered an aesthetic integration of contemplative mysticism with popular religious practices, influencing various artistic and theological movements. This paper examines Christian artist Joy Elamkunnapuzha’s use of Indian classical and mythical elements in his religious artworks, particularly in two North Indian churches. These intercultural icons, which incorporate symbols from Hindu traditions like mandalas and mudras, have been central to the worship practices of local Catholic communities for over three decades. Through ritual ethnography, the study reveals how these visual representations mediate ritual affectivity and communal imagination, impacting identity formation and spiritual engagement in a multi-religious context. Respondents—including worshippers, ministers, and religious students—attest to the transformative impact of these images, as they negotiate between Christian metaphors and Hindu aesthetic traditions. The research is grounded in practical theology, liturgical theology, and ritual studies, contributing to the works of Indian Christian cultural activists like Jyoti Sahi. By exploring the creative dynamics of visual approach, visual appeal, and visual affinity within worship spaces, the study elucidates the complex processes of meaning making through symbolic mediation in interreligious environments. Full article

This essay examines the distinctive features; unchanging basic elements and changing emphases of Bonaventure’s interpretation of the spiritual senses based on four works selected from different periods of his life and considered significant for the subject. In the first chapter, I analyse the relevant passages of Bonaventure’s Commentary on the Book of Sentences; in the second the De reductione artium ad theologiam; in the third the Breviloquium; and in the fourth the Itinerarium mentis in Deum. The objects of investigation are as follows: the correlation between the acts of spiritual senses and their object; the basis of the hierarchical order of spiritual senses; the relationship between spiritual senses; mental excesses and mystical transit; and the relation to Dionysian mystical theology. Full article

This article aims to approach Sanjuanist mysticism from a queer perspective. It is not a monolithic apology to queer people, nor a treatise on mystical interpretation, but an effort to recognize and validate the spiritual experience of LGBTIQ+ people. It takes some mystical passages from St. John of the Cross that help to read the experience of queer life in a mystical key. With this, the potential of mysticism to combat those phobic, segregating, and unjust ideologies that mistreat so many people because of their sexual orientation and gender identity dissidence is manifested. Although it is problematic, talking about this is an act of epistemic, sociocultural, and religious justice. Full article

Julian of Norwich’s performance within her longer Revelations of Divine Love involves layers of authorizing and devotional steps that frame it as a gift for her community. She presents herself not as an author, but as a revelator, in step with John’s acts of unveiling his visions and dialogue with the divine in the Biblical Revelations. Examining Julian’s act of presenting her visions in writing demonstrates how her daring yet insistently orthodox visions handle issues of spiritual authority and individual faith made urgent by the rise of Lollardy. My work with Julian’s Revelations is the foundation for a wider argument about the interchange between vernacular mysticism and public devotion through their use of affective piety and the performance of spiritual dialogue. In this article, I examine Julian of Norwich’s Revelation of Divine Love to determine how it works as contemplative drama. I also look at The Mirror of the Blessed Life of Christ and The Cloud of Unknowing to set up Julian’s performance of contemplative devotion and the potential pitfalls of a pious English readership. Julian’s revelations demonstrate where interior contemplation is transformed into collective acts of devotion. Full article

Panikkar’s philosophy of mysticism is best understood as an attempt to overcome monistic and dualistic ways of thinking about the divine, human beings and the universe. Mysticism, for Panikkar, is irreducible to either monistic experiences of oneness without a second or to dualistic experiences where the divine is seen as wholly other. Rather, mysticism relates to holistic experiences of Reality and Life where the divine, the universe and human consciousness are seen as distinct yet constitutively interrelated. Mysticism has often been based on dualistic views of this life and the next, worldly existence and heavenly existence, the material and the spiritual, body and soul, and action and contemplation. These dualisms have led many to view mysticism as negating life and as an escape from this world and human activities. Panikkar’s philosophy of mysticism, however, attempts to overcome these dualisms and restores the equilibrium between the diverse yet united aspects of Reality and the human condition. This article is divided into two parts. The first part introduces Panikkar’s conception of mysticism as an anthropological dimension and as involving holistic experiences of Reality and Life. The second part examines Panikkar’s notion of pure consciousness and his understanding of mystical experiences as being the result of various mediating factors. Full article

There are three English authors of the fourteenth century we may call “imaginative mystics” because of their use of imagination in spiritual praxis, i.e., Richard Rolle, Walter Hilton, and the unknown author of the Cloud of Unknowing. However, recently, there has been some criticism expressed regarding these doctrines; in particular, there is a question of whether a spiritual praxis, which includes imaginative images, can keep the principle of the unknowability of God. There is also a question of sensual perception. Imaginative images keep some attributes of sensual perception, such as shape, and they always have some spatiality and temporality. There is a question: how can these images depict the spiritual nature of God and spiritual objects themselves? There is even a possibility that imagination darkens contemplative vision and turns the soul’s attention back to the world. In this paper, I will try to show how these three English authors kept the principle of God’s unknowability and what the role of the imagination in their spiritual praxis is. Full article

This paper explores mysticism as seen in Ernesto Cardenal’s El Evangelio en Solentiname (The Gospel in Solentiname), aiming at both defining Cardenal as a revolutionary and a traditional mystic, shaped by Thomas Merton’s influence and by Latin American political circumstances. Mysticism is usually defined as individual contemplation of God, immediate and unmediated. Yet, in the context of Latin American 20th-century struggles for liberation, mysticism became contemplation of God while the individual is committed to the community. This perspective is studied in Cardenal’s book, supported with his memoir Las ínsulas extrañanas (The Strange Islands), to show that Cardenal is a mystic, notwithstanding his political commitment, or precisely because of that. The theoretical background draws notions from liberation theology and liberation philosophy. Paradoxically, in spite of its revolutionary claims, Cardenal’s The Gospel in Solentiname can be seen in the line of traditional mysticism, in its challenge of power from the margins and its presentation of alternative modes of communicating with the divine. Full article

The scientific process of understanding natural phenomena such as evolution is an important tool for human progress, so it is good to know where it begins and where it ends, or where it leads. In this article, we put forward the observation that mysticism begins when, in understanding phenomena, we move into the intellectual realm of the unobservable and invisible material and personal life processes, which are interconnected in two ways. On the one hand, the material life processes, which can be contemplated mystically by means of scientific explanations, analogical models, and imagination, are the reason for the purposefulness of identities that are the fruit of personal processes. These are experts, professional and amateur scientists, and lay scientists who are attracted to identity precisely because of the material life processes in which they have an interest, enthusiasm, or passion. On the other hand, it is precisely their mental engagement with these material life processes through the mystical contemplation of the beautiful solutions to nature’s problems that makes them true since truth is classically conceived precisely as the correspondence between intellect and a thing. Discerning the truth of hypotheses, theories, mid-range theories, and meta-theories, however, requires humility at all levels because of the collective way of seeking truth. In this process of truth discernment, it is necessary to accept humbly that I may be wrong and that my neighbor may be right, which ultimately leads us to the mysticism of the Triune God’s merciful love. Full article

This is an interview with moving image artist, writer, and contemplative practitioner, Marilyn (M) Freeman by artist, Cat Auburn. They explore Freeman’s contemplative filmmaking practice, ‘Cinema Divina’ and the relationship of Freeman’s life, artistic practice and research interests to autotheory. Autotheory is widely held to be the coalescence of autobiography with theory (or philosophy) within a work of art or literature, often with an aim towards offering social or cultural narration and service. The impulse to collaborate on this interview came from Auburn’s encounter with Cinema Divina during an online group contemplative session facilitated by Freeman in February 2022. This interview covers Freeman’s development of Cinema Divina, such topics as Freeman’s theory of Vertical Dissonance, the risks of working autotheoretically, mysticism, interior life, the hierarchies of knowledge production and the potential for what Freeman calls ‘the illuminated space’ to create radical opportunities for personal transformation. Ultimately, this interview establishes that Cinema Divina can be seen as an autotheoretical practice that uses contemplative practices rooted in lectio divina, a meditative prayer ritual of early Benedictine monastics, to theorize through Freeman’s embodied, lived experiences and artistic outcomes. Full article

A glimpse of the history of Islamic art indicates that Sufism and mysticism have long been among the most important intellectual and spiritual currents influencing Persian art and architecture. Accordingly, re-reading the symbolic concepts as well as the mystical and spiritual semiotics and seeking their reflection in the body of architecture is an obligatory instruction that should be considered in the process of architectural design. In this research, the authors endeavor to investigate the semiology in the physical elements of Sheikh Lotf-Allah Mosque in Isfahan and its relationship with Rumi’s mysticism using inferential–analytical methods and based on library studies and empirical observations. This research found that the Sheikh Lotf-Allah Mosque was constructed according to the mystical opinions of Rumi in order to demonstrate the semantic values of different levels of the universe in its physical form, structure and configuration. According to the findings, the use of Rumi’s mysticism propagates a God-centered semantic spirit to the body of Persian architectural elements, which always reminds human beings of their true home, which is the heavenly world. According to Rumi, the nature of architecture is beyond the material, and it is God-centered contemplation that turns the architecture into magnificent buildings. Full article