This book asserts the importance of conducting research on visual culture phenomena in public theology. As we increasingly communicate and express our social and cultural identities through images in today’s culture and economy, visual culture has become a burgeoning area of study and research in many academic institutions. In light of this, public theology must engage with this complex field. The concept of iconicity is raising fresh inquiries within the realm of public theology, which is already rife with hermeneutic concerns. These questions must be revisited, as images compel us to reassess our ongoing approach to the interpretation of religion. The potency of images is an uncharted and potent force, propelling public theology towards a future that is yet to be discovered.

What does art have to do with faith? For many Christians, paintings, films, music, and other forms of art are simply used for wall decoration, entertaining distraction, or worshipful devotion. But what if the arts played a more prominent role in the Christian life? In Discovering God through the Arts, discover how the arts can be tools for faith-building, life-changing spiritual formation for all Christians. Terry Glaspey, author of 75 Masterpieces Every Christian Should Know, examines: How the arts assist us in prayer and contemplation How the arts help us rediscover a sense of wonder How the arts help us deal with emotions How the arts aid theological reflection and so much more. Let your faith be enriched, and discover how beauty and creativity can draw you nearer to the ultimate Creator.

Religion, Art, and Visual Culture is a cross-cultural exploration of the study of visuality and the arts from a religious perspective. This forward looking and accessible collection gathers together the most current scholarship for those interested in art, religion, visual culture, and cultural studies. Inherently interdisciplinary, this reader approaches the study of world religions through the human, meaning-making activity of seeing. The volume oscillates between specific visual subjects (painting, landscape gardens, calligraphy, architecture, mass media) and the broader theoretical discourses which are relevant to Humanities students today.

This book is the first of its kind to fully explain how to use photographs for research within Practical Theology. An essential tool for anyone exploring how visual material can shed light on their research questions, the book functions as a guide to using the methods well. It includes a rationale for using photographs within the emerging field of empirical work within theology, which is useful for students or others within the academy who need to justify using a visual approach for their research projects and dissertations. Drawing on the author's own experience of using visual approaches, the book covers a variety of visual methods, including photojournalism, different types of photo elicitation, photo voice and studies of visual social media. Each chapter illustrates the method under discussion via a case study and photographs and contains a practical guide to using the method well and avoiding pitfalls. Additionally, the book explores how photographs can be used to resource theological reflection and spirituality, thus linking research and faithful practice within the rational for using visual material. Designed for the classroom use, each chapter contains: - Chapter summary (learning points) - Background information - 'how to' with examples of research projects - Advantages and limitations of the method - Conclusion

This lively and highly original study explores the link between visual culture and religion in terms of tales, memory and character. It draws out the sociological implications of handling the virtual and virtue in ways of seeing. Using Simmel's approach to religiosity in his third study of sociology in theology, Flanagan explores how spectacle is to be understood in ways that yield trust. The study will be invaluable for undergraduate and postgraduate courses on visual culture, sociology of religion and theology.

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

"Sacred gaze" denotes any way of seeing that invests its object—an image, a person, a time, a place—with spiritual significance. Drawing from many different fields, David Morgan investigates key aspects of vision and imagery in a variety of religious traditions. His lively, innovative book explores how viewers absorb and process religious imagery and how their experience contributes to the social, intellectual, and perceptual construction of reality. Ranging widely from thirteenth-century Japan and eighteenth-century Tibet to contemporary America, Thailand, and Africa, The Sacred Gaze discusses the religious functions of images and the tools viewers use to interpret them. Morgan questions how fear and disgust of images relate to one another and explains how scholars study the long and evolving histories of images as they pass from culture to culture. An intriguing strand of the narrative details how images have helped to shape popular conceptions of gender and masculinity. The opening chapter considers definitions of "visual culture" and how these relate to the traditional practice of art history. Amply illustrated with more than seventy images from diverse religious traditions, this masterful interdisciplinary study provides a comprehensive and accessible resource for everyone interested in how religious images and visual practice order space and time, communicate with the transcendent, and embody forms of communion with the divine. The Sacred Gaze is a vital introduction to the study of the visual culture of religions.

The work of Richard Harries, Bishop of Oxford from 1987 to 2006, has been highly distinctive for the consistency of its engagement with contemporary society. It represents a model of the Church which is outward-looking, a Church which is as ready to learn from others as it is to offer its own wisdom and resources. This book reflects on Richard Harries' ministry in the 'borderlands' of society and Church, and engages deeply with the nature of modern society and the place of the Church within it. Taking Richard Harries' contributions as their inspiration, key figures, each of them major commentators on areas of pressing contemporary concern, probe the important questions which people are asking about a range of social issues. Arms and violence, the role of the media in public life, spirituality, multifaith Britain, sex, capitalism, the second chamber, and medical ethics are all discussed, building up a serious debate on the kind of society in which we live and making suggestive comments about the part which the Church might play. Contributors: Sabina Alkire, Michael Bourke, Melvyn Bragg, John Drury, Claire Foster, Jonathan Gorsky, Anthony Howard, Douglas Hurd, Eric James, Julia Neuberger, Edmund Newell, Christopher Rowland, Jane Shaw, Margaret Shepherd, Roger Wagner, Keith Ward, Rowan Williams, Shirley Williams and James Woodward.

Street corners, guild halls, government offices, and confraternity centers contained paintings that made the city of Florence a visual jewel at precisely the time of its emergence as an international cultural leader. This book considers the paintings that were made specifically for consideration by lay viewers, as well as the way they could have been interpreted by audiences who approached them with specific perspectives. Their belief in the power of images, their understanding of the persuasiveness of pictures, and their acceptance of the utterly vital role that art could play as a propagator of civic, corporate, and individual identity made lay viewers keenly aware of the paintings in their midst. Those pictures affirmed the piety of the people for whom they were made in an age of social and political upheaval, as the city experimented with an imperfect form of republicanism that often failed to adhere to its declared aspirations.

The dynamic relationship between art and theology continues to fascinate and to challenge, especially when theology addresses art in all of its variety. In Architecture and Theology: The Art of Place, author Murray Rae turns to the spatial arts, especially architecture, to investigate how the art forms engaged in the construction of our built environment relate to Christian faith. Rae does not offer a theology of the spatial arts, but instead engages in a sustained theological conversation with the spatial arts. Because the spatial arts are public, visual, and communal, they wield an immense but easily overlooked influence. Architecture and Theology overcomes this inattention by offering new ways of thinking about the theological importance of space and place in our experience of God, the relation between freedom and law in Christian life, the transformation involved in God's promised new creation, biblical anticipation of the heavenly city, divine presence and absence, the architecture of repentance and remorse, and the relation between space and time. In doing so, Rae finds an ample place for theology amidst the architectural arts.