Christ The Form Of Beauty

Reveals the importance of the sacramental imagination as the key to the renewal of Christology and of modern Christian literature.

Reveals the importance of the sacramental imagination as the key to the renewal of Christology and of modern Christian literature

Why is God's beauty often absent from our theology? Rarely do theologians take up the theme of God's beauty—even more rarely do they consider how God's beauty should shape the task of theology itself. But the psalmist says that the heart of the believer's desire is to behold the beauty of the Lord. In The Beauty of the Lord, Jonathan King restores aesthetics as not merely a valid lens for theological reflection, but an essential one. Jesus, our incarnate Redeemer, displays the Triune God's beauty in his actions and person, from creation to final consummation. How can and should theology better reflect this unveiled beauty? The Beauty of the Lord is a renewal of a truly aesthetic theology and a properly theological aesthetics.

Many contemporary theologians seek to retrieve the concept of beauty as a way for people to encounter God. This groundbreaking book argues that while Martin Luther's view of beauty has often been ignored or underappreciated, it has much to contribute to that quest. Mark Mattes, one of today's leading Lutheran theologians, analyzes Luther's theological aesthetics and discusses its implications for music, art, and the contemplative life. Mattes shows that for Luther, the cross is the lens through which the beauty of God is refracted into the world.

The Beauty of the Infinite is a splendid extended essay in "theological aesthetics." David Bentley Hart here meditates on the power of a Christian understanding of beauty and sublimity to rise above the violence -- both philosophical and literal -- characteristic of the postmodern world. The book begins by tracing the shifting use and nature of metaphysics in the thought of Kant, Hegel, Nietzsche, Heidegger, Lyotard, Derrida, Deleuze, Nancy, Levinas, and others. Hart pays special attention to Nietzsche's famous narrative of the "will to power" -- a narrative largely adopted by the world today -- and he offers an engaging revision (though not rejection) of the genealogy of nihilism, thereby highlighting the significant "interruption" that Christian thought introduced into the history of metaphysics. This discussion sets the stage for a retrieval of the classic Christian account of beauty and sublimity, and of the relation of both to the question of being. Written in the form of a dogmatica minora, this main section of the book offers a pointed reading of the Christian story in four moments, or parts: Trinity, creation, salvation, and eschaton. Through a combination of narrative and argument throughout, Hart ends up demonstrating the power of Christian metaphysics not only to withstand the critiques of modern and postmodern thought but also to move well beyond them. Strikingly original and deeply rewarding, The Beauty of the Infinite is both a constructively critical account of the history of metaphysics and a compelling contribution to it.

British bishop argues for a distinctively Christian approach to art.

Balthasar is one of the most influential of Catholic twentieth-century theologians, and his oeuvre is astonishing in its range and amplitude. This together with a style of writing that is cyclic rather than systematic makes his work difficult to assimilate. The author has overcome this obstacle by finding an integrating motif that makes coherent sense of the whole. That motif is the concept of 'form'. The first section of the book deals with that 'form': its genesis, its meaning as a whole which is greater than the sum of its parts, and as a revelation of the mystery of Being. Section two shows how, when the concept is applied christologically, it signifies the incarnate form of Jesus as expressing the glory of the triune God, the source of Being. Section three, which deals specifically with Balthasar's soteriology, demonstrates how because of his mission to save a sinful world the form of Jesus has to undergo suffering and death and become apparently 'formless'. While indicating that the main lines of Balthasar's theology are rooted in tradition, the book also illustrates the radicalness of his approach. His dialogue with theologians and philosophers, both ancient and modern, is discussed and evaluated throughout.

Editors Mark Husbands, Roger Lundin and Daniel J. Treier present ten essays that explore a Christian approach to beauty and the arts. The visual arts, music and literature are considered as well as the theological meaning and place of the arts in a fallen world redeemed by Christ.