The photographs were assembled from many sources by George R. Leighton with the assistance of Anita Brenner and others. Many of the prints were cleaned and rephotographed by the distinguished photographer Walker Evans.
You can experience God’s presence and healing power through dance.
Encountering God Through Dance equips believers to worship Jesus in wholehearted devotion—to express love without fear or shame.
What people are saying:
Encountering God Through Dance is the wonderful journey of a radical lover of God…and a manual for instruction and inspiration. —Bill Johnson, Senior Pastor, Bethel Church
This is by far the most refreshing book I have read in a long time. Saara Taina has given her life to a core area of life that is far too marginalized in many churches. —Marc A. Dupont, Mantle of Praise Ministries, Inc.
Rarely do you see a book that offers passion, testimonies, and biblical expertise so that others can be fully equipped. —Theresa Dedmon, Director of Prophetic Arts, Bethel Church
We have personally experienced the breakthrough power of the dance many, many times in Succat Hallel, our 24/7 worship room that overlooks Mount Zion in Jerusalem. —Rick and Patti Ridings, Succat Hallel
The author’s personal journey of devotion through dance has taken her worldwide. She wraps her exciting travels with a solid biblical framework for the importance of dance in the Kingdom of God—on earth, today!
Creatively Supernatural!Offering a launching pad for you to burst into the realm of creative expression—that fun, fantasy world where the Creator is waiting to welcome you. There is a connection between creativity, your identity, the Church, and the world—and it is an important connection. Creativity is tied to all believers’ identity, all who are made in the image of the Creator, all who are born to create! Overflowing with many thrilling, modern-day testimonies, Born to Create emphasizes the magnitude of both craft—practice and excellence—as well as anointing. Many who have been freed to embrace their creative ideas and passions, whether in the art fields, business, or education, share their amazing stories with you. Their freedom allowed them to powerfully release healing, the prophetic, and the knowledge of God’s love into the marketplace. Live creatively, friends. If someone falls into sin, forgivingly restore him, saving your critical comments for yourself. You might be needing forgiveness before the day’s out. Stoop down and reach out to those who are oppressed. Share their burdens, and so complete Christ’s law… (Galatians 6:1 The Message). You will learn how the supernatural can be activated through what you create, and you will explore hindrances from understanding your creative destiny—your true identity.
In this book, her daughter, Susannah Glusker, traces Brenner's intellectual growth and achievements from the 1920s through the 1940s. Drawing on Brenner's unpublished journals and autobiographical novel, as well as on her published writing, Glusker describes the origin and impact of Brenner's three major books, Idols Behind Altars, Your Mexican Holiday, and The Wind That Swept Mexico.
Along the way, Glusker traces Brenner's support of many liberal causes, including her championship of Mexico as a haven for Jewish immigrants in the early 1920s. This intellectual biography brings to light a complex, fascinating woman who bridged many worlds—the United States and Mexico, art and politics, professional work and family life.
Special training emphasis on how to minister in the anointing by applying spiritual disciplines, walking in purity, holiness and the fear of the Lord are all included in this life changing arts course. You will quickly discover that the dance is the very last thing God requires of the movement artist.
Some of the training topics that will be covered are:
-Preparing for War, Introduction to Dance
-Building Team Unity
-Spiritual Requirements for the Dancer
-The Ministry of Dance and the Prophetic
-Weapons of War! (Dance, Tambourines, Flags, Streamers etc)
-Evangelism and the Arts
-Conditioning the Temple of God through Fitness and Nutrition and much more!
God is raising up and calling forth a worship warrior Bride to make an impact in this generation.
Its time to enlistHE WANTS YOU!
But God chose the foolish things of the world to shame the wise.
1 Corinthians 1:27
By tracing the artistic vocabulary, techniques and working methods of icon painters, Tarasov shows how icons have been integral to the history of Russian art, influenced by folk and mainstream currents alike. As well as articulating the specifically Russian piety they invoke, he analyzes the significance of icons in the cultural life of modern Russia in the context of popular prints and poster design.
The manuscript comes out the Irish monastic tradition, which was responsible for preserving and transmitting the tradition of classical learning that had disappeared from most of Europe after the fall the Roman Empire. It is unequivocally its finest example. As it stands now, it consists of 339 vellum leaves. Some introductory pages and the last chapters from the Gospel of John had vanished when the book, stolen from the Kells Monastery in the late eleventh century, was eventually recovered.
The unique worth of the manuscript lies in its magnificent illustrations and fascinating ornamentation. It boasts a number of full page illustrations, including the first known representation of a Madonna and Child in an illuminated manuscript, and most of the Gospel pages are adorned with delightful illuminated capitals and marginal and interlinear illustrations. These comprise abstract geometrical designs, and human and animal figures of all stripes. By turns playful and solemn, the abundant ornamentation acts at times as commentary, orienting the reader and reinforcing the message of the Gospels. At other times its dazzling richness may simply be expressive of the artistic impulses of the unknown monks who created it.
This edition has the benefit of a clear and authoritative introduction by Charles Gidley that provides the reader with background and context and the tools necessary to enter into this strange and magical world. Over fifty of the most striking pages are meticulously reproduced at full size to show the depth of color and intricacy of design.
The extraordinary care and devotion that are evident throughout the Book of Kells make clear that its makers saw their creation as a devotional object whose primary object was to reveal the message of Jesus Christ and reflect God's majesty.
The Alchemist is a Brazilian novel about a shepherd named Santiago, an 18-year-old youth who abandons his life in Spain to embark upon an epic treasure hunt across Africa. Making several unexpected stops along the way, he uncovers profound truths about himself, the world, and the kingdom of God, which are fundamentally connected. Ultimately, he finds the treasure, but along the way he also finds love and personal fulfillment.
At 16, Santiago, who had been studying to become a priest, had defied his parents’ wishes and set off to travel across Andalusia with a herd of sheep. The story picks up two years later. The boy has been leading his sheep all this time. Lovesick, he’s thinking about settling down with the daughter of a merchant he met the year before. As he contemplates the future, he feels anxious, hopeful, and full of questions…
PLEASE NOTE: This is summary and analysis of the book and NOT the original book.
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This book collects all 241 plates — long out of print — that Doré executed for the Bible. In these plates, reproduced from outstanding early editions, the artist not only captures the dramatic intensity of the Scriptures, but sustains it longer than any other single artist was able to do. In addition, Doré reimagined all the scenes, so that what he produced was not a mere reworking of what centuries of other artists had already done, but a new and fresh visual interpretation of the Bible.
Each plate is accompanied by the verses from the Authorized (King James) Version of the Bible that the scene depicts, and an Introduction by Millicent Rose covers Doré's life and art in general. This is a sumptuous book that everyone, from those interested in Scripture to lovers of great art, will be proud to possess.
This book gives a descriptive outline of the principal gods in the Tibetan pantheon, tracing the main features and symbols that are used to denote each one. A Comprehensive illustrated list of the various ritual objects, talismans, symbols, mudras (symbolic hand poses), and asanas and vahanas (position of the lower limbs) that are used in the images of the gods is accompanied with a word list of the Sanskrit terms most commonly encountered in a study of Lamaism.
A set of thirty-one thang-kas from the famous collection of Baron A. von Stael-Holstein, formerly of Peking, China, which came to America after the publication of the original edition of the book, has been included in this new and revised edition.
Traveling the world, the Crossans noticed a surprising difference in how the Eastern Church considers Jesus’ resurrection—an event not described in the Bible. At Saint Barbara’s Church in Cairo, they found a painting in which the risen Jesus grasps the hands of other figures around him. Unlike the Western image of a solitary Jesus rising from an empty tomb that he viewed across Eastern Europe, Asia, and the Middle East, the Crossans saw images of the resurrection depicting a Jesus grasping the hands of figures around him, or lifting Adam and Eve to heaven from Hades or hell, or carrying the old and sick to the afterlife. They discovered that the standard image for the Resurrection in Eastern Christianity is communal and collective, something unique from the solitary depiction of the resurrection in Western Christianity.
Fifteen years in the making, Resurrecting Easter reflects on this divide in how the Western and Eastern churches depict the resurrection and its implications. The Crossans argue that the West has gutted the heart of Christianity’s understanding of the resurrection by rejecting that once-common communal iconography in favor of an individualistic vision. As they examine the ubiquitous Eastern imagery of Jesus freeing Eve from Hades while ascending to heaven, the Crossans suggest that this iconography raises profound questions about Christian morality and forgiveness.
A fundamentally different way of understand the story of Jesus’ rebirth illustrated with 130 images, Resurrecting Easter introduces an inclusive, traditional community-based ideal that offers renewed hope and possibilities for our fractured modern society.
Artists and art lovers will find in these pages supreme examples of the illustrator's art. Among the events depicted: the expulsion of Satan from heaven, Adam and Eve in Paradise, the nine-day fall of Lucifer's legions to Hell, the Creation, the temptation of Eve, the Flood, Moses holding up the Ten Commandments, and the fearsome creatures Milton referred to as "Gorgons, and Hydras, and Chimeras dire."
The dreamlike, otherworldly quality Doré often brought to his work seems especially appropriate for Paradise Lost with its lofty spirit and epic events. Indeed, Doré's grand conception seems to realize perfectly Milton's own poetic version. Appropriate quotes from the text of Paradise Lost are printed alongside each illustration. A plot summary of the entire poem is also included.
This book explores this Mexican tradition — the artists, their works, the social and political background, and the relationship of the modern painters to European and Mexican historical tradition. Helm, an important collector who knew most of the artists, writes informally yet with deep understanding about the major figures — Orozco, Rivera, and Siqueiros — as well as over 40 others little known outside their native Mexico.
He ably ties together such diverse influences as the Revolution and the regime of Obregón, the Siqueiros Syndicate and its power in getting artists to pool resources and works for a powerful national style, Rivera's strong political beliefs and their effect on his work, Orozco's deep empathy, the development of the young artists, the effects of low wages and bohemian existence on artistic production, links to Indian art, the rediscovery of fresco technique, important patrons, the religious and anti-religious forces in the early works, and much more. In addition, 95 works by 37 artists are reproduced, showing the range and best works of modern Mexican painting.
MacKinley Helm was in a uniquely favorable position to write about these artists, and his book is now considered the best introduction to the art and artists of Mexico during the great artistic movements of the '20s and '30s. Collectors, artists, and others who have felt the lack of solid information about this important Western tradition will find this book gives clear insight into the conflicts, personalities, and important works that have developed into modern Mexican art.
This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.
Dunn reveals previously ignored connections between the counterculture and Brazilian music, literature, film, visual arts, and alternative journalism. In chronicling desbunde, the Brazilian hippie movement, he shows how the state of Bahia, renowned for its Afro-Brazilian culture, emerged as a countercultural mecca for youth in search of spiritual alternatives. As this critical and expansive book demonstrates, many of the country's social and justice movements have their origins in the countercultural attitudes, practices, and sensibilities that flourished during the military dictatorship.
Exploring an art form that informs birth and death, personhood, the dream world, the natural world, religion, gender roles, and ecology, Kuna Art and Shamanism provides a rich understanding of this society's visual system, and the ways in which these groundbreaking ethnographic findings can enhance Amerindian scholarship overall. Fortis also explores the fact that to ask what it means for the Kuna people to carve the figure of a person is to pose a riddle about the culture's complete concept of knowing.
Also incorporating notions of landscape (islands, gardens, and ancient trees) as well as cycles of life, including the influence of illness, Fortis places the statues at the center of a network of social relationships that entangle people with nonhuman entities. As an activity carried out by skilled elderly men, who possess embodied knowledge of lifelong transformations, the carving process is one that mediates mortal worlds with those of immortal primordial spirits. Kuna Art and Shamanism immerses readers in this sense of unity and opposition between soul and body, internal forms and external appearances, and image and design.
Involving well-known artists such as Frida Kahlo, Diego Rivera, and David Alfaro Siqueiros, as well as some less well known, including Tina Modotti, Leopoldo Mendez, and Aurora Reyes, politicians began to appropriate the artists' nationalistic visual images as weapons in a national propaganda war. High-stakes negotiating and co-opting took place between the two camps as they sparred over the production of generally accepted notions and representations of the revolution's legacy—and what it meant to be authentically Mexican.
The character that emerges is charming. It is that of a man strong but retiring, sharply critical of what he disapproves yet generous in praise of what he admires, decided in his views but modest in his assumptions and given to understatement in describing his own activities, averse to war and political struggle yet eager for conflict of ideas, always dedicated to the welfare of humanity.
Through the details of day-by-day living, he presents the panorama of the Mexican Revolution and of events in other parts of the world to which he traveled. His is a personal story of the Revolution, giving his reactions (as those of any common man) to the barbarities of war: “Insolent leaders, inflamed with alcohol, taking whatever they wanted at pistol point. . . . By night in dark streets the sound of gunplay, followed by screams, blasphemies, and vile insults. Breaking windows, sharp blows, cries of pain, and shots again.”
Orozco’s ability, as a painter, to see the details and to sense the mood of a place is apparent in his word pictures of the places he visited: “After six in the evening Paris is an immense brothel.” “London was like the seat of a noble family which had been exceedingly rich but had lost its fortune.” “Old, old Montmartre [is] a moldering cadaver . . .”
Orozco also makes some penetrating observations on art itself. Although he emphasizes individuality and freedom from tradition in art, he abhors unschooled art, especially such extremes as primitive Impressionism and other groups that lack instruction in the general principles of art, in technique, in theory of color, in perspective. He says ironically of the artistically uneducated: “Blessed are the ignorant and the imbecile, for theirs is the supreme glory of art! Blessed are the idiots and the cretins, for masterpieces of painting shall issue from their hands!” Orozco believes in education, not only for the artists but for their public. Taste in art can come only through understanding of the purpose and the techniques of art—through knowledge. Without training, public taste “mostly likes sugar, honey, and candy. Diabetic art. The greater the amount of sugar, the greater the—commercial—success.”
Hope MacLean provides the first comprehensive study of Huichol yarn paintings, from their origins as sacred offerings to their transformation into commercial art. Drawing on twenty years of ethnographic fieldwork, she interviews Huichol artists who have innovated important themes and styles. She compares the artists' views with those of art dealers and government officials to show how yarn painters respond to market influences while still keeping their religious beliefs.
Most innovative is her exploration of what it means to say a tourist art is based on dreams and visions of the shamans. She explains what visionary experience means in Huichol culture and discusses the influence of the hallucinogenic peyote cactus on the Huichol's remarkable use of color. She uncovers a deep structure of visionary experience, rooted in Huichol concepts of soul-energy, and shows how this remarkable conception may be linked to visionary experiences as described by other Uto-Aztecan and Meso-American cultures.
In this fascinating study, Dagyab Rinpoche not only explains the nine best-known groups of Tibetan Buddhist symbols but also shows how they serve as bridges between our inner and outer worlds. As such, they can be used to point the way to ultimate reality and to transmit a reservoir of deep knowledge formed over thousands of years.
His conviction that art should be multifunction is basic to the author's views on art in the city (he regards most American cities as dehumanizing wastelands of aesthetic squalor, dominated by the demands of the automobile), and leads him to a helpful discussion of its role in worship and the church.
Developing an aesthetic that is basically grounded, yet always sensitive to the human need for beauty, Wolterstorff make a brilliant contribution to understanding how art can serve to broaden and enrich our lives.
Editors Katherine A. Faust and Kim N. Richter put the plight and the importance of the Huasteca into historical and cultural context. They address challenges to study of the region, ranging from confusion about the term “Huasteca” (a legacy of the Aztec conquest in the late fifteenth century) to present-day misconceptions about the region’s role in pre-Columbian history. Many of the contributions included here consider the Huasteca’s interactions with other regions, particularly the American Southeast and the southern Gulf Coast of Mexico. Pre-Columbian Huastec inhabitants, for example, wore trapezoid-shaped shell ornaments unique in Mesoamerica but similar to those found along the Mississippi River.
With extensive examples drawn from archaeological evidence, and supported by nearly 200 images, the contributors explore the Huasteca as a junction where art, material culture, customs, ritual practices, and languages were exchanged. While most of the essays focus on pre-Columbian periods, a few address the early colonial period and contemporary agricultural and religious practices. Together, these essays illuminate the Huasteca’s significant legacy and the cross-cultural connections that still resonate in the region today.
Tracing the multiple meanings and messages of civic festivals and religious feast days alike, Spectacular Wealth highlights the conflicting agendas at work in the organization, performance, and publication of festivals. Celebrants and writers in mining boomtowns presented themselves as far more than tributaries yielding mineral wealth to the Spanish and Portuguese empires, using festivals to redefine their reputations and to celebrate their cultural, spiritual, and intellectual wealth.
Fiqh-us-Sunnah Volume 1 is about Fiqh ruling on Rules and Regulations of Purification and Prayer that goes back to the Qur'an and Sunnah and As-Sayyid Sabiq has dealt with all four madhahib objectively, with no preferential treatment to any. The author presents and discusses a variety of viewpoints on the various matters of practice.
This volume gathers Camnitzer's most thought-provoking essays—"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that compose the legacy that Camnitzer draws on and offers to his readers.
In this study, Jeanette F. Peterson examines the murals within the dual heritage of pre-Hispanic and European muralism to reveal how the wall paintings promoted the political and religious agendas of the Spanish conquerors while preserving a record of pre-Columbian rituals and imagery. She finds that the utopian themes portrayed at Malinalco and other Augustinian monasteries were integrated into a religious and political ideology that, in part, camouflaged the harsh realities of colonial policies toward the native population.
That the murals were ultimately whitewashed at the end of the sixteenth century suggests that the "spiritual conquest" failed. Peterson argues that the incorporation of native features ultimately worked to undermine the orthodoxy of the Christian message. She places the murals' imagery within the pre-Columbian tlacuilo (scribe-painter) tradition, traces a "Sahagún connection" between the Malinalco muralists and the native artists working at the Franciscan school of Tlatelolco, and explores mural painting as an artistic response to acculturation.
The book is beautifully illustrated with 137 black-and-white figures, including photographs and line drawings. For everyone interested in the encounter between European and Native American cultures, it will be essential reading.
Demonstrating that identity politics lies at the heart of the controversy, Ronda Brulotte provides a nuanced inquiry into what it means to present “authentic” cultural production in a state where indigenous ethnicity is part of an awkward social and racial classification system. Emphasizing the world-famous woodcarvers of Arrazola and the replica purveyors who come from the same community, Brulotte presents the ironies of an ideology that extols regional identity but shuns its artifacts as “forgeries.” Her work makes us question the authority of archaeological discourse in the face of local communities who may often see things differently. A departure from the dialogue that seeks to prove or disprove “authenticity,” Between Art and Artifact reveals itself as a commentary on the arguments themselves, and what the controversy can teach us about our shifting definitions of authority and authorship.
Approaching the Cafeteros' art from a cultural studies perspective, O'Reilly Herrera examines how the history of Cuba informs their work and establishes their connections to past generations of Cuban artists. In interviews with more than thirty artists, including José Bedia, María Brito, Leandro Soto, Glexis Novoa, Baruj Salinas, and Ana Albertina Delgado, O'Reilly Herrera also raises critical questions regarding the many and sometimes paradoxical ways diasporic subjects self-affiliate or situate themselves in the narratives of scattering and displacement. She demonstrates how the Cafeteros' artmaking involves a process of re-rooting, absorption, translation, and synthesis that simultaneously conserves a series of identifiable Cuban cultural elements while re-inscribing and transforming them in new contexts.
An important contribution to both diasporic and transnational studies and discussions of contemporary Cuban art, Cuban Artists Across the Diaspora ultimately testifies to the fact that a long tradition of Cuban art is indeed flourishing outside the island.
Part graphic guide, part personal testimony, part art book, Dharma Delight illustrates how seeking the path of compassion and acceptance can be as zany and exuberant as it is profound. It is a happy exploration of Buddhist Enlightenment—what it is, where to seek it—and how to recognize the perfection in ourselves. A great option for Zen beginners and experienced practitioners alike, sutras (teachings), Bodhisattvas (enlightened beings) and jataka tales (parables) are presented in a way that's simple, upbeat and fun to read.
The original paintings—some new, some already known on the New York art scene and elsewhere—are an imaginative and affirming mind's-eye view of Buddhist teaching. Together, the words and illustrations are a warm and cheerful invitation to newcomers and a cool splash of refreshment to any traveler on the road to enlightenment.
By looking at the Relación in its colonial context, this study reveals how it presented the indigenous collaborators a unique opportunity to shape European perceptions of them while settling conflicting agendas, outshining competing ethnic groups, and carving a place for themselves in the new colonial society. Through archival research and careful visual analysis, Angélica Afanador-Pujol provides a new and fascinating account that situates the manuscript's images within the colonial conflicts that engulfed the indigenous collaborators. These conflicts ranged from disputes over political posts among indigenous factions to labor and land disputes against Spanish newcomers. Afanador-Pujol explores how these tensions are physically expressed in the manuscript's production and in its many contradictions between text and images, as well as in numerous emendations to the images. By studying representations of justice, landscape, conquest narratives, and genealogy within the Relación, Afanador-Pujol clearly demonstrates the visual construction of identity, its malleability, and its political possibilities.
What emerges are the subtle, often sophisticated ways in which the Inca manipulated space and architecture in order to impose their authority, identity, and agenda. The remains of grand buildings, as well as a series of deft architectural gestures in the landscape, reveal the unique places that were created within the royal estate and how one space deeply informed the other. These dynamic settings created private places for an aging ruler to spend time with a preferred wife and son, while also providing impressive spaces for imperial theatrics that reiterated the power of Topa Inca, the choice of his preferred heir, and the ruler's close relationship with sacred forces.
This careful study of architectural details also exposes several false paradigms that have profoundly misguided how we understand Inca architecture, including the belief that it ended with the arrival of Spaniards in the Andes. Instead, Nair reveals how, amidst the entanglement and violence of the European encounter, an indigenous town emerged that was rooted in Inca ways of understanding space, place, and architecture and that paid homage to a landscape that defined home for Topa Inca.
Profusely illustrated with color and black-and-white photographs, maps, and analytical drawings of urban cores of major cities, The Architecture and Cities of Northern Mexico systematically examines significant works of architecture in large cities and small towns in each state, from the earliest buildings in the urban core to the newest at the periphery. Edward R. Burian describes the most memorable works of architecture in each city in greater detail in terms of their spatial organization, materials, and sensory experience. He also includes a concise geographical and historical summary of the region that provides a useful background for the discussions of the works of architecture. Burian concludes the book with a brief commentary on lessons learned and possible futures for the architectural culture of the region, as well as the first comprehensive biographical listing of the architects practicing in Northern Mexico during the past two centuries.
Established by artists Andre Eugene and Jean Herard Celeur in the late 1990s, the Grand Rue's urban environmental aesthetics--defined by motifs of machinic urbanism, Vodou bricolage, the postprimitivist altermodern, and performative politics--radically challenge ideas about consumption, waste, and environmental hazards, as well as consider innovative solutions to these problems in the midst of poverty, insufficient social welfare, lack of access to arts, education, and basic needs.
In Riding with Death, Jana Evans Braziel explores the urban environmental aesthetics of the Grand Rue sculptors and the beautifully constructed sculptures they have designed from salvaged automobile parts, rubber tires, carved wood, and other recycled materials. Through first-person accounts and fieldwork, Braziel constructs an urban ecological framework for understanding these sculptures amid environmental degradation and grinding poverty. Influenced by urban geographers, art historians, and political theorists, the book regards the underdeveloped cities of the global South as alternate spaces for challenging the profit-driven machinations of global capitalism. Above all, Braziel presents Haitian artists who live on the most challenged Caribbean island, yet who thrive as creators reinventing refuse as art and resisting the abjection of their circumstances.
The focus of each chapter is on the temples, churches, and religious buildings, statues, paintings, and other works of art and architecture created by believers. Each representative work of art or architecture is examined in terms of its history, materials, symbols, colors, and patterns, as its significance is explained to the reader. With extensive illustrations, these volumes are the definitive reference work on art and architecture of the world's religions.