Reformed Theology And Visual Culture

William Dyrness examines how particular theological themes of Reformed Protestants impacted on their surrounding visual culture.

An intriguing, substantive look into the relationship between the church and the world of art.

In this lavishly illustrated book, David Morgan surveys the visual culture that shaped American Protestantism in the nineteenth and twentieth centuries--a vast record of images in illustrated bibles, Christian almanacs, children's literature, popular religious books, charts, broadsides, Sunday school cards, illuminated devotional items, tracts, chromos, and engravings. His purpose is to explain the rise of these images, their appearance and subject matter, how they were understood by believers, the uses to which they were put, and what their relation was to technological innovations, commerce, and the cultural politics of Protestantism. His overarching argument is that the role of images in American Protestantism greatly expanded and developed during this period.

In 1970, Hans Rookmaaker published Modern Art and the Death of a Culture, a groundbreaking work that considered the role of the Christian artist in society. This volume responds to his work by bringing together a practicing artist and a theologian who argue that modernist art is underwritten by deeply religious concerns.

In search of holistic Christian witness, we must cultivate new approaches for integrating the arts into mission praxis. Written by missiologists, art critics, ethnodoxologists, and theologians from around the world, these essays present historical and contemporary case studies while calling Christians to understand the power of art for expressing cultural and religious identity, opening spaces for transformative encounters, and resisting injustice.

This is an interdisciplinary study of the Bible and visuality. It is the first to be written by a historian of visual culture (that is, aspects of culture mediated by visual images) rather than a biblical scholar, and unlike some previous studies, it makes equal partners of image and text. The Bible as Visual Culture also bridges a longstanding gulf between the interpretative traditions, languages, and reading conventions of the two disciplines. The book's central question is: What happens when text becomes an image? In response, the study explores how biblical ideas are articulated in and through visual mediums, and examines ways in which visual culture actively shapes biblical and religious concepts. Using original research material, Harvey's approach develops a variety of new and adaptable hermeneutics to exegete artifacts. The book applies theoretical and methodological approaches-native to fine art, art history, and visual cultural studies but new to biblical studies-to examine the significance of images for biblical exegesis and how images exposit the biblical text. John Harvey draws upon a breadth of fine art, craft, and ephemeral objects made, modified or adopted for worship, teaching, commemoration and propaganda, including painting, print, photography, sculpture, installations, kitsch and websites. These artifacts are studied chiefly in the context of the late-modern period in the West, from a Protestant Christian perspective for the most part. The Bible as Visual Culture is directed to academics and students of biblical studies, theology, religious studies, ecclesiastical history, art history, visual culture and art practice. It provides an accessible introduction to the field, informing newcomers of existing scholarship and introducing new concepts and theories to those already in the field.

How can art enhance and enrich the Christian faith? What is the basis for a relationship between the church and visual imagery? Can the art world and the Protestant church be reconciled? Is art idolatry and vanity, or can it be used to strengthen the church? Grounded in historical and biblical research, William Dyrness offers students and scholars an intriguing, substantive look into the relationship between the church and the world of art. Faith and art were not always discordant. According to Dyrness, Israel understood imagery and beauty as reflections of God's perfect order; likewise, early Christians used art to teach and inspire. However, the Protestant church abandoned visual arts and imagery during the Reformation in favor of the written word and has only recently begun to reexamine art's role in Christianity and worship. Dyrness affirms this renewal and argues that art, if reflecting the order and wholeness of the world God created, can and should play an important role in modern Christianity.

The aesthetics of everyday life, as reflected in art museums and galleries throughout the western world, is the result of a profound shift in aesthetic perception that occurred during the Renaissance and Reformation. In this book, William A. Dyrness examines intellectual developments in late Medieval Europe, which turned attention away from a narrow range liturgical art and practices and towards a celebration of God's presence in creation and in history. Though threatened by the human tendency to self-assertion, he shows how a new focus on God's creative and recreative action in the world gave time and history a new seriousness, and engendered a broad spectrum of aesthetic potential. Focusing in particular on the writings of Luther and Calvin, Dyrness demonstrates how the reformers' conceptual and theological frameworks pertaining to the role of the arts influenced the rise of realistic theater, lyric poetry, landscape painting, and architecture in the sixteenth and seventeenth centuries.