Search Results (53)

This article examines the understanding of paideia in the writings of Photios of Constantinople (c. 810–893) and argues that his educational vision cannot be reduced to literary cultivation or the preservation of classical learning. While modern scholarship has frequently emphasised Photios’ role in transmitting the intellectual heritage of antiquity, less attention has been given to the anthropological and theological framework within which he interpreted that inheritance. Through an analysis of his Myriobiblos, Amphilochia, letters and homilies, this study demonstrates that Photios understood education as the complete formation of the human person through the harmonious cooperation of body and soul. Classical philosophy, literature and aesthetics are valued not as autonomous disciplines but as instruments serving a higher theological purpose. In Photios’ thought, the Hellenic ideal of paideia undergoes a thorough Christian adaptation, recalibrated by doctrines of creation, incarnation, resurrection and deification. His anthropology is reflected in his understanding of virtue, ascetic discipline, beauty and cultural inheritance. The article argues that Photios’ engagement with the classical tradition was neither antiquarian nor merely apologetic but rather one of the most sophisticated syntheses of classical culture and revealed theology in the middle Byzantine period. Full article

This essay advances a theological reappraisal of Impressionist painting as a modern mode of sacramental perception capable of renewing the contemplative imagination within a disenchanted West. While recent scholarship has interpreted Impressionism as a limit case of aesthetic immanence, reducing vision to light, temporality, and surface, this study argues that such immanence is not closed. Drawing on Aidan Nichols’s distinction between art made for the liturgy and art tutored by it and informed by David Fagerberg’s account of liturgy as the right ordering of reality itself, the argument proposes that Impressionist form can be evaluated according to precise theological criteria. Sustained ekphrastic analysis of Monet’s Portal of Rouen Cathedral in Morning Light (1894), Cézanne’s Mont Sainte-Victoire (c. 1902–1904), and Messiaen’s Louange à l’Immortalité de Jésus (1941) is brought into conversation with Jean-Luc Marion’s phenomenology of givenness, Pavel Florensky’s theology of perspective, and Augustine’s account of distentio animi. Read in this light, Impressionism emerges not as indifference to the sacred, but as a discipline of attention that disposes artist and perceiver toward participation in a liturgical reality already given in creation: a modern praeparatio evangelica whose formal achievements, though historically bounded, remain theologically available. The argument does not presume that Impressionist form is theological in intention, but that, when attended to with sufficient formal discipline, it may be recognized as consonant with theological accounts of perception. Full article

This study explores “incapacitated transcendence”—a divine presence that remains ontologically present but lacks sovereign power to intervene—within Paul Klee’s angel paintings. It reinterprets these figures as a critical counterpoint to Carl Schmitt’s theory of sovereignty. While Schmitt rationalized the “decision” of an omnipotent sovereign as a secularized miracle, Klee’s malformed or flightless angels present a starkly different theological device. Influenced by Nietzsche, Klee rejected traditional afterlife-oriented transcendence while preserving it as a domain inassimilable to human finitude. Following World War I, this evolved into “incapacity”—not an absence of the divine, but the structural impossibility of its manifestation through fragile human existence. By contrasting Klee’s Angelus Novus with Schmitt’s sovereign, this study argues that incapacitated transcendence deconstructs the myth of absolute political power. Drawing on Walter Benjamin’s “Angel of History,” this study concludes that this very incompetence constitutes a site of hope. This reinterpretation suggests that aesthetics can offer a profound critique of political theology, challenging absolutist models of power in contemporary crisis. Full article

One of the most famous and frequently analysed descriptions in literary and art history is undoubtedly Dostoevsky’s ekphrasis of Holbein’s painting The Dead Christ in the Tomb in his novel The Idiot (Part III. Chapter 6). The painting itself sparked a series of theological and aesthetic controversies with its unusual, non-canonical iconography depicting of the Passion of Christ. Most art historical analyses do not ignore the ekphrasis of that picture in The Idiot. In this study, we proceed from the premise that the “reading of the painting” leads to different results from the point of view of three main characters of the novel: Rogozhin, Myshkin, and Ippolit. Our goal is to prove that ekphrasis is an inseparable part of a speech act—not an objective description, but intentional speech. Therefore, it cannot be interpreted without understanding the speaker’s intention or the character’s situation. This explains the strong distortions and misreading in the ekphrasis. We can capture the meaning reconstructed in the character’s speech through the motifs of copy, epigonism, duplication and misquotation. Ippolit, the subiectum of ekphrasis, proves to be a truly “bad reader,” and his reading becomes devastating in the world of the novel insofar as it anticipates the destruction expressed in the motifs of the Apocalypse. In addition, we also reveal that there is a hidden intention behind Ippolit’s reading, which we can grasp by examining the signs in the text (metaphorical meaning). The most important motifs of ekphrasis (e.g., nature, the number six, actuality, darkness–light) weave through the entire text of the novel and are incorporated into the process of text production and meaning creation. Full article

Christian philosophers, theologians, and artists regularly claim that experiences of beauty in art can function (i) as a road to God and (ii) as an encounter with God. These claims are well motivated by various Biblical texts and sophisticated theistic accounts of aesthetic perception. What is often lacking, however, is empirical support for key premises in arguments supporting these common claims. As a result, the connection between beauty, art, and God remains tentative and subject to defeat by empirically grounded naturalistic accounts of aesthetic perception. In this essay, we will identify the key empirical premises supporting these common claims and suggest the application of the emerging field, experimental theological aesthetics, for empirically testing such premises. If successful, the resultant experimentally based approach to philosophical and theological aesthetics suggests new ways of advancing long-standing debates typically carried out along theoretical or a priori lines with little or no appeal to empirical concerns. Full article

This article examines how religious experience is articulated through genre in the poetry of the seventeenth-century Ottoman Mawlawī shaykh Neshāṭī (d. 1674), focusing on the striking contrast between his ghazals and non-ghazal compositions. While Neshāṭī’s qaṣīdas, mathnawīs and other formal genres employ an explicit and direct religious language—addressing God, the Prophet, sacred figures, and doctrinal themes—his ghazals are dominated by imagery of wine, love, and the beloved, which at first glance appears markedly profane. Rather than reading this contrast as a sign of secularization or doctrinal inconsistency, the article argues that it reflects a conscious poetic strategy shaped by the expressive style of the ghazal. Through a close reading of Neshāṭī’s Dīwān, the study demonstrates that religious meaning in ghazals is not absent but deliberately rendered implicit. Drawing on motifs such as the mirror, secret (sirr), annihilation (fanāʾ fīʾllāh), and states of spiritual contraction, Neshāṭī transforms the language of human love into a vehicle for divine experience. In this context, the ghazal emerges as a genre particularly suited to conveying religious meaning through ambiguity, emotional intensity, and symbolic indirection rather than overt doctrinal exposition. By situating Neshāṭī within both the Mawlawī tradition and the aesthetics of Sabk-i Hindī, this article highlights how genre manifests religious expression in Ottoman poetry. It proposes that divine encounter in Neshāṭī’s work is realized less through explicit theological discourse than through the affective and symbolic potential of the ghazal. In doing so, the study offers a new reading of Neshāṭī’s poetry and contributes to broader discussions on the relationship between literary/lyrical genre, mysticism, and religious experience in Islamic literary traditions. Full article

This article reinterprets modern realist drama as a site of secular spirituality, where aesthetic form sustains the sacred under conditions of modern secularity. Employing a phenomenological–theological framework, it integrates Charles Taylor’s account of the secular age, Mircea Eliade’s sacred–profane dialectic and hierophany, and René Girard’s anthropology of sacrifice. Through textual and performance-historical analysis of key works—Ibsen’s A Doll’s House (1879) and An Enemy of the People (1882)—together with Chinese modern drama shaped by Ibsenization, including Hu Shi’s translations, Lu Xun’s critiques, and Cao Yu’s Thunderstorm (1934), the article argues that realist theatre fulfils religious functions in secular culture: revelation as truth-telling, confession as critical self-disclosure, and renewal as ethical transformation. In early twentieth-century China, the encounter between Ibsen’s moral realism and indigenous moral traditions generated a distinctive spiritual humanism, in which theatre assumed ritual and didactic functions traditionally associated with religious practices. Full article

Bai Yuchan (白玉蟾, 1134?–1229?), a prominent figure of the Southern Lineage of Golden Elixir Sect 金丹派南宗 during the Southern Song dynasty, established a unique synthesis of Shenxiao Thunder Rites and Inner Alchemy by cultivating the persona of a “Banished Immortal”. By framing himself as a celestial thunder officer exiled to the human realm, he grounded his ritual authority in a narrative of divine origin. Central to this system was the “Heart 心,” which served as the essential bridge between internal cultivation and ritual efficacy. Bai argued that the ability to command thunder relied not on mere technique, but on the alchemical refinement of the practitioner’s own spirit and qi 氣/炁. Bai’s writings, especially the Qu Gong Poems 曲肱詩, express his dual identity and his earthly life as a period of spiritual transcendence. Distinctively, Bai embraced genuine emotion and literati aesthetics. He used the “banished immortal” trope to translate the fierce, internal power of thunder into a socially recognized form. This theological and literary construction not only legitimized his public performance of rainmaking and exorcism but also forged a durable identity for the Southern Lineage that continued to shape Daoist traditions well into the Ming dynasty. Full article

This article analyses the iconographic cycle of the Sacristy of the Virgin in the Basílica del Pilar, with the aim of unveiling the complex system of visual symbols present in its bas-reliefs. Through a typological and exegetical approach, the study examines the various Marian representations, highlighting their connection with Old Testament, Patristic, Scholastic, and Baroque traditions. The research demonstrates how these visual emblems embody the principles of Divine Motherhood, purity, Co-Redemptrix, and the Virgin’s spiritual superiority. Furthermore, it explores the relationship between the carvings and hermeneutic and emblematic literature, revealing how tradition and devotion intertwine to configure a genuine Baroque iconographic breviary. The findings allow for an interpretation of Mary not only as an object of worship but also as a theological paradigm and aesthetic model of divine perfection, thus offering a comprehensive vision of Baroque Mariology and of the didactic and devotional function of the Sacristy of the Virgin. Full article

This study explores the Qurʾānic portrayal of al-ḥūr al-ʿīn in relation to pre-Islamic poetic traditions, with a particular focus on Imruʾ al-Qays’s Muʿallaqa—a foundational text in Arabic love poetry. It aims to examine how the Qurʾān reconfigures familiar expressions of female beauty—such as al-luʾluʾ al-maknūn, qāṣirātu al-ṭarf, kawāʿib atrāban, ʿuruban, and abkāran—within a spiritual and eschatological framework. The research problem centers on understanding the rhetorical and semantic shift from the sensual, body-centered depictions of women found in Imruʾ al-Qays’s couplet to the morally elevated and symbolically charged representations presented in the Qurʾān. Using a comparative textual analysis method, the study draws on classical tafsīr literature and selected passages from Muʿallaqa to trace the semantic transformation of key terms and metaphors. The findings demonstrate that while the Qurʾān retains the linguistic forms and imagery familiar to its audience—including poetic conventions of beauty from Imruʾ al-Qays—it redirects them toward a higher moral and theological purpose. Female beauty becomes not a site of fleeting desire, but a symbol of divine reward, integrating physical perfection with spiritual purity. Ultimately, the research argues that the Qurʾān does not reject the aesthetic legacy of pre-Islamic poetry, but absorbs and elevates it, establishing a new rhetorical paradigm grounded in revelation and ethical transcendence. This study encourages further comparative research between Qurʾānic discourse and early Arabic poetry to illuminate the cultural and expressive transformations shaped by Islam. Full article

This study explores Eastern Orthodox aesthetics through a parallax lens, situating it at the intersection of theology, anthropology, and cultural practice to move beyond the icon-centric discourse. It examines how Orthodox aesthetics, rooted in the theological vision of beauty as divine disclosure, manifests in liturgical ethos, material culture, and secular artistic expression. The analysis draws on Christos Yannaras’ ethos of liturgical art, Chrysostomos Stamoulis’ exercise in philokalic aesthetics, and Timothy Carroll’s ethnographic material ecology of Orthodox Christianity, revealing beauty as an ontological event of communion and transformation. A parallax shift to Dionysis Savvopoulos’ lyrics uncovers an aesthetic eschatology, or an aesthetics of eschatology, where Orthodox themes of resurrection and festivity permeate non-ecclesial Greek culture. Employing a comparative, interdisciplinary methodology, the study integrates theological reflection, ethnographic insights, and cultural analysis. It concludes that Orthodox aesthetics is a dynamic field where beauty, truth, and eschatological hope converge, extending beyond the sanctuary into everyday practices and popular art—“incarnated” in material reality. This transdisciplinary approach reconfigures Orthodox aesthetics as a theological anthropology, offering fresh perspectives on its role in contemporary discourse and its diffusion into the public sphere, while advocating for material culture as a critical lens for future exploration. Full article

The article analyses the correlations between Latin American liberation theology and 19th-century Russian novel. Drawing on Bakhtin’s concept of the ‘threshold chronotype’, it contextualises the aesthetic and theological language of Russian novels and liberation theology as expressions of the same ‘chronotope’ situated on the periphery of capitalism. The article argues that the violence and degradation of the Russian chronotope, from which the historical force of the poor emerges, are comparable to the violence that will later define the boundaries of representation in Latin American liberation theology. This serves as the basis for exploring how the concept of testimony, as a process of restitution of the victims’ memory, informs the theological and aesthetic grammar of liberation theology and Russian novel. Full article

This article offers a descriptive analysis of a specific form (uṣūl) of prophetic eulogy (ṣalawāt) as vocally performed within Sufi orders such as the Rifāʿiyya, Qādiriyya, and Jarrahiyya of today’s Türkiye. It combines a music–theoretical and music–sociological as well as ritual–theoretical perspective to examine how the structured performance of these chants functions both as a spiritual practice and as a means of social formation. Drawing on this dual perspective, the article analyses the underlying musical structures and elements of the ṣalawāt chant, such as melody, rhythm, harmony, modal frameworks, and dynamics. By examining how these formal aspects shape the aesthetic experience, emotional resonance, and theological significance of the eulogy, the study aims to highlight its performative and affective potential within Sufi devotional practice. Within the ritual framework of Sufi orders (ṭarīqa), this rhythmic and collective performance acts as a practice of tazkiya an-nafs (self-purification), cultivating attentiveness, moral refinement, and communal belonging through synchronized voice, breath, and bodily presence. The repeated invocation of the Prophet Muḥammad, venerated as the perfect human (al-insān al-kāmil), thus becomes a means of fostering inner transformation and spiritual proximity. In this way, ṣalawāt chanting mediates religious meaning not only through text but through embodied experience and performative devotion. Full article

Both feeling and thought operate largely through a process of associations. Some of these are learned; some seem to be transcultural. In Western art it has long been assumed that certain arrangement of sounds, shapes, and colors evoke particular emotions and ideas. Rudolph Otto applies this idea also to the experience of the “Holy,” the “mysterium tremendum et fascinans.” This is a unique experience, irreducible to any other. However, there is a “law of associations” by which aesthetic and moral experiences evoke the “numinous” by a kind of analogy. Otto’s analysis raises the question whether there is in fact a specific experience of “the holy.” Is religious consciousness a sui generis experience, or is it rather an interpretation of experience? Is Otto’s notion of the numinous tied to a particular stage of religion? Post-Kantian transcendental theology proposes that “depth” or “limit” experiences are implicit in consciousness, and provide the basis for a variety of associations with the ultimate mystery of existence. The divine is anticipated as infinite transcendence that is at the same time radical immanence. The implicit intentionality of the divine can be implicit or can be formulated at different levels as feeling, image, concept, and transcendental intentionality. The “sacred” is an aesthetic construct signifying heightened awareness of the mystery. Sacred spaces are places consecrated to such awareness; they can be constructed in response to various aspects of communal awareness. All such aesthetic mediations of the sacred have an ambiguous relation to religious conversion. Full article

This article critically analyses the use of generative Artificial Intelligence (GenAI)—specifically, the DALL·E system within the ChatGPT-4o environment—for creating visualisations of biblical scenes for teaching purposes. As part of a case study examining the Baptism of Jesus in the Jordan (Mt 3:13–17; cf. Mark 1:9–11; Luke 3:21–22; John 1:31, 34) and the Last Supper (Mt 26:17–30; cf. Mark 14:12–16; Luke 22:7–13), four AI-generated images are analysed. Two were created using general, non-specific prompts, while the other two were based on more precise queries containing references to Catholic symbolism and the images’ intended educational use. A comparison of these variants reveals a lack of theological depth and symbolic oversimplification in AI-generated images, as well as a tendency to reproduce Western cultural stereotypes. Despite their aesthetic appeal and quick availability, these images do not reflect the complexity of the biblical or spiritual contexts of the scenes depicted. This study aims to evaluate the theological, symbolic, and pedagogical value of AI-generated images and to provide practical recommendations for their responsible use in Bible didactics. In conclusion, the authors argue that GenAI can support biblical teaching when used consciously, critically, and reflectively. Full article