Themes From Chapter One of "A History of God"

The gazes of the fresco’s subjects run along this depth axis towards a point that lies beyond the coronal plane of the fresco. This intersection of gazes to a point beyond the plane of the visual text is reminiscent of those in Diego Velázquez’s Las Meninas, on which critical theorist Michel Foucault comments, referring to the gazes of the model, the spectator, and the painter, “These three ‘observing’ functions come together in a point exterior to the picture: that is, an ideal point in relation to what is represented, but a perfectly real one too, since it is also the starting-point that makes the representation possible” (15). Gaulli’s Triumph of the Name of Jesus, once again, is a visual text that is viewed di sotto in sù, the viewer’s gaze turned skyward to partake of the text. This viewing takes place across a vertical space—a distance between the viewer on ground level and the vaulted ceiling—that is pronounced by a set of trompe-l'œils that the viewer is responsible for reconciling. The aforementioned disruptions of visual boundaries and patterns in the text, the disruptions of media boundaries from paint to sculpture to architecture, and the artificial shadows projected by the painted figures all contribute to the viewer’s ability to perceive this depth axis and focus on the burst of light that resides at a point beyond the coronal plane of the

Malala Yousafzai, 18 year old Nobel Prize winner and women’s rights activist, once exclaimed: “I raise up my voice- not so I can shout, but so that those without a voice can be heard...we cannot succeed when half of us are held back”. The idea of speaking for those who cannot speak for themselves is extremely important when it comes to striving for change, so being able to express the needs of marginalized people is a great and awesome power. Yousafzai’s quote specifically connects to women’s rights, therefore it can be used to support the feminist movement seeing as she is advocating for the equality, in treatment and opportunity, of men and women. Feminist beliefs do not only apply to society, but to theology as well, seeing as the teachings of the bible are extremely influential in the day to day lives and values of religious people. The text that I chose to highlight this idea comes from Elizabeth A. Johnson’s book Quest for the Living God, chapter 5 ‘God Acting Womanish’ because it directly connects spirituality and feminism.

In her text, Armstrong continuously analyzes the similarity between religion and art. In fact, she initially starts her chapter with an in depth discussion of images painted in an underground labyrinth dated back from 30,000 BCE. She talks about paintings of different animals, such as an ox, deer, and a jumping cow, that must have had some religious meaning to the

Sheed states on page 10 that “In theology, spirit is not only a key word, it is the key word.” Spirt is the thing we know and love and then we end up deciding at the end. So basically, our spirit is everything. It “loves” God and “knows” it loves God.

Although men and women in the modern are “no longer to make [an] effort” to be inclined to religion, Armstrong still sees religion as something extremely

This God however does take on three forms known as The Trinity. The Christian doctrine states that God exists as God the Father, God the Son and God the Holy Spirit.

Both Roman Catholics and the Eastern Orthodox Church comprehended God to exist in three structures, known as the Trinity. God is three in one, the Father, the Son, and Holy Spirit.

our confession as well as the implications of a God who is three in one. In the following essay, I

There are three foundational points in this theological approach that provide comprehension for that which seems beyond understanding --- God in one being; God in three persons. First, the main idea is centered on joining with Christ in the continuing ministry that substantiates the

Throughout history, people have used paintings and art as a tool to express their religious beliefs and values. Illustrations depicting the Virgin Mary and child, often referred to as Madonna and Child, are one of the most recurring images in Christian and European Art through the ages. Though these paintings and sculptures may have similarities in their iconography and style each work of art varies based on the different artists’ and time periods. Two paintings that portray these features currently reside in the Museum of Fine Arts Houston. The first, Virgin and Child by Rogier van der Wyden, was originally painted after 1454. In the painting, the Virgin Mary is holding Christ against her shoulder as he twists around to face toward the viewers. The second painting is Virgin and Child with a Donor, painted by Antoniazzo Romano and originally painted c. 1480. In this painting, Virgin Mary is supporting Christ who seems to be standing and includes a figure of a man with his hands crossed in prayer. While both paintings depict the mother and child, there are both similarities and differences in style and portrayal. In this paper, I will thoroughly examine these traits, as well as address the similarities and differences associated with the two paintings. This analysis will be done by using information gained from reading Gardner’s Art Through the Ages, in class lectures from ARTH 1381 Art and Society Renaissance to Modern and ARTH 1300 Ways of Seeing Art, and close visual

Genesis is the first book of the Bible.  It begins with the story of God’s creation of the universe.    The Lord is the Almighty Creator of the world, skies, heavens, seas, animals, man, and woman.  He governs the universe and develops relationships with man.  Throughout Genesis, God acknowledges the fact that human beings make mistakes, and accepts their imperfection.  Throughout Genesis, God changes from one who does not tolerate disobedience, to one who shows clemency.  Early on in Genesis, God punishes Adam and Eve for disobedience.  After making the mistake of flooding the world, the Lord realizes that even He is not perfect, and does not allow Jacob’s deceit of his father to taint his future.

Just as it’s human nature to believe in something larger or more powerful than oneself, it is also human nature to express that divinity through art, this is proven time and time again in human history. Picturing the divine is a type of testimony to show a cultures greatness. The painting Arhats Giving Alms to Beggars comes from the Chinese culture of the Southern Song period. Whereas, the mosaic Christ as Pantocrator comes from the Byzantine culture of the Greek Orthodox tradition. Although these paintings come from very different backgrounds both cultures show the divine and their pressure on mankind to follow the rules, such as giving away worldly desires. By doing so and letting go of material possessions, mankind can be hopeful of

The Bible encourages the church to always be ready, just like a bride waiting for her bridegroom to come for her. We are instructed not to be caught off guard and unprepared for Jesus, our Bridegroom. 1John 2:28 KJV reads, "And now, little children, abide in Him, that when He shall appear, we may have confidence, and not be ashamed before Him at His coming." The apostle Paul instructed the church at Thessalonica to watch, "Therefore let us not sleep, as others do; but let us watch, and be sober, for they that sleep, sleep in the night, and they that be drunken are drunken in the night. But let us, who are of the day, be sober, putting on the breastplate of faith and love, and for a helmet, the hope of salvation," 1Thessalonians 5:6-8 KJV.

The present work is focused on undertaking an in-depth analysis of two famous religious paintings: The Virgin and Child by Barnaba da Modena, an Italian painter from the fourteenth century, and The Elevation of the Cross by Peter Paul Rubens, a seventeenth century Flemish artist and diplomat. Following, by comparison, a thorough account of the two works' features, careful observation reveals more than one interpretation.

In this essay, I will discuss the startling differences between two depictions of the story of Judith and Holofernes. “Judith with the Head of Holofernes”, 1495, created by Andrea Mantegna, is a small-scale painting that was completed during the Renaissance. The second is a Baroque painting, “Judith Slaying Holofernes”, c.1620 by Artemisia Gentileschi and is on a larger scale than the version created by Mantegna. Both artworks take inspiration from the religious story that appears in the Catholic editions of the Bible. The story is about a young widowed Jewish woman, by the name of Judith, who murdered an enemy army general, Holofernes, to spare her people from death. I will compare and contrast how the scene has been depicted in rather different ways by each of the artists and the influencing factors that contributed to the overall outcome of both works. I will also be discussing how form and naturalism are portrayed between the two paintings, use of colour, symbolism and religion, as well as the Renaissance and Baroque eras.