Sentences with phrase «in sacred art»

The faith was not merely explained in its doctrine but reflected in sacred art, music, architecture, and the poetry of liturgy.

Suspended animation of this kind serves to further remove Susini's Baptist from the realm of commonplace experience, an effect devoutly to be desired in sacred art.

In the formation of seminarians, education in beauty should not be neglected, nor education in the sacred arts, as we are reminded in the teaching of the Second Vatican Council (cf Sacrosanctum Concilium, 129).

Not exact matches

But as that gap has narrowed and disappeared with the commodification of culture and our loss of a sense of the holy, art must become the void itself in order to re-establish the very idea of the sacred.

Beauty in the Sacred The revelatory character of sacred art is specifically depicted in the Catechism of the Catholic Church: «To the extent that it is inspired by truth and love of beings, art bears a certain likeness to God's activity in what he has created.»

The Reformation had called into question the place of art in sacred spaces, and the political and ecclesiastical future of the region was up for grabs.

A comparable humanization of the sacred was taking place throughout the Christian West during the Middle Ages, but Malraux insists that it was not the human but the sacred that «disappeared» in Gothic art.

He went on to say: «The other arts — architecture, painting, vestments, and the arts of movement — each contribute to and support the beauty of the liturgy, but still the art of music is greater even than that of any other art, because it forms a necessary or integral part of the solemn liturgy, because it is so intimately bound to the sacred action, defining and differentiating the various parts in character, motion and importance.»

But it recognized Christ solely in terms of communion and this is why no other art in any other civilization ever caused the sacred to embody so much of the human and so fully expressed the sacred through the human.2

(CCC: 2500) People have always been drawn to Christian faith by the sacred beauty that the Church offers us in the revelation of God in Jesus, scripture, liturgy, sacraments, lives of the saints, sacred art, miracles of conversion and healing, and in her own very nature.

«To try to grasp the essence of such phenomenon by means of physiology, psychology, sociology, economics, linguistics, art or any other study is false; it misses the one unique and irreducible element in it - the element of the sacred».

But they need to be understood if the recovery of the classical tradition now underway in sacred and secular art alike is to be fully realized.

In northern Europe, where the miracle play had its origin, she starred in such sacred theatrical productions as Dulot's Maria Magdalena, his motet written for Rouen Cathedral, as well as the art of the daIn northern Europe, where the miracle play had its origin, she starred in such sacred theatrical productions as Dulot's Maria Magdalena, his motet written for Rouen Cathedral, as well as the art of the dain such sacred theatrical productions as Dulot's Maria Magdalena, his motet written for Rouen Cathedral, as well as the art of the day.

And of course those religions which had not achieved the art of writing had, in a strict sense, no fixed sacred book.

The Reformation had called into question the place of art in sacred spaces, and the political and ecclesiastical....

In place of the solemn chants of the Church, ballroom ditties are taken and twisted, and adapted to the sacred words by some make - shift dabbler in the science of harmony, without art and in most cases without even intelligencIn place of the solemn chants of the Church, ballroom ditties are taken and twisted, and adapted to the sacred words by some make - shift dabbler in the science of harmony, without art and in most cases without even intelligencin the science of harmony, without art and in most cases without even intelligencin most cases without even intelligence.

In Venice the Chorus foundation was formed by the Archdiocese in order to restore some of their magnificent churches and their sacred arIn Venice the Chorus foundation was formed by the Archdiocese in order to restore some of their magnificent churches and their sacred arin order to restore some of their magnificent churches and their sacred art.

They may need to discover and to re-tell a unifying story of the country Of course, this runs against the academic grain, which nurtures what it believes to be a healthy contempt for the nation (let alone its historic spiritual culture) and a self - protecting indifference to the local community In America, where unbalanced individuality and unbalanced diversity seem sacred, the wildness of history is blowing at cyclone force, and the ability to cope with it seems to be a dying art.

In the art and artifacts associated with the sacred, we search for beauty, too.

If beauty — not a particular beauty, but any beautiful thing — is a metaphor of the sacred, then there is no such thing as a uniquely «religious» or ecclesiastical idiom in architecture or in the other arts.

As a novel it also invites readers to an indulgence: it offers a taste of adventure, a glance at art history and a sip of «sacred sexuality» in the form of spirituality lite.

«To try to grasp the essence of such a phenomenon by means of physiology, psychology, sociology, economics, linguistics, art or any other study is false; it misses the one unique and irreducible element in it — the element of the sacred.»

Showing a thorough understanding of the seminal work of Mircea Eliade, Georges Duby, and Titus Burkhardt, Molnar describes a sacred cosmos in which art, work, education, and (most importantly for this book) politics are infused by a power that emanates from a transcendent source.

Cobbling may well be in fact, a noble art or at the least a sacred pathway to creative, authentic life.

The site, one of five sacred mountains in China (familiar to many as a backdrop in martial arts films), has had a meteorological observatory on its peak since 1954.

A sacred ingredient that was used in spiritual ceremonies and art dating back to the 7th millennium BC, it's far more than just the latest health food trend.

Thai Yoga Bodywork is an ancient and sacred healing art form with deep roots in traditional Thai massage, Buddhism and Yoga.

The sacred art of balancing masculine and feminine energy in a relationship (with plenty of real life examples and helpful tips).

It suggests that art is in the subconscious or a universal collective conscious — a sacred place only we can access.

While most scholarship treats films as fodder for validating and perpetuating sacred theoretical frameworks, much like Thomas Kuhn's scientific paradigms, film criticism takes each film primarily as an autonomous art object and derives from the object the analytical tools necessary for discussing it, which may or may not be found in film theory toolkit.

It is urgent that today's youth reinvent democracy and promote the art of co-evolving as an individual society / species in a common and sacred natural space.

Sadly, in dismissing the classical or liberal arts approach, we've also unintentionally thwarted our most sacred goal: that all students become strong readers.

In soaring language that's accompanied by boisterous art, the book invites readers into a sacred space and reminds them that life is filled with beauty as well as questions — about faith, family, and culture.

Firsts stop will be visiting Ubud Monkey Forest is a sanctuary sacred monkey forest located in the center of Ubud village, then the trip continue to visit the Ubud Royal Palace is Ubud King resident palace long time ago located opposite with Ubud art market, then the trip continue to visit Goa Gajah Temple is hermitage of Buddhist monk.

The hotel is located in the heart of Belém on Avenida Nazaré, along which the Círio de Nazaré procession passes, and near the city's main tourist attractions, such as the Estação das Docas, Ver - o - Peso Market, Presépio Fort, Pará museum of sacred art and Paz Theater.

MAJOR TOURIST DESTINATION IN BALI - Uluwatu Temple - Cliff - top temple with spectacular ocean views -(30 km away)- Tanah Lot Temple - The coastal temple of Tanah Lot, perched on a rock at the edge of the shore line -(17 km away)- Denpasar - Bali's capital and main business & government offices area -(20 km away)- Ubud - Beautiful landscape of rice fields, art galleries, sacred monkey forest, craft and jewelries -(35 km away)- Kuta - Busy tourist area, great shopping and night life -(10 km away)- Nusa Dua - Masterfully planed tourist area famous for its white sandy beach, golf course, convention and exclusive retails complex -(28 km away)- Besakih Temple - Located on the slopes of Mount Agung, often referred to as the «mother temple» -(85 km away)- Rice Paddies at Jatiluwih -(50 km away)- Sacred Spring and Palace at Tampaksiring -(40 km away)- Padang Padang Beach - famous surfing spot for professional surfer -(30 km away) ESSENTIAL INFORMATION Bali's Airport is listed as «Denpasar» (DPS) which is the name of the island's capital.

This categorizing affirmed in 1971 by the Advisory Council and Cultural Development (LISTIBIYA) Bali in response to increasing tourism to the show merambahnya arts sacred nature.

Art Dynamics Pertujukan Bali Tourism Culture in Context In general, the performing arts of Bali can be categorized into three: wali (sacred performing arts), which only made when the ritual worship; bebali performances are dedicated to the ceremony but also to visitors; and Balih - balihan nature for mere entertainment in public placein Context In general, the performing arts of Bali can be categorized into three: wali (sacred performing arts), which only made when the ritual worship; bebali performances are dedicated to the ceremony but also to visitors; and Balih - balihan nature for mere entertainment in public placeIn general, the performing arts of Bali can be categorized into three: wali (sacred performing arts), which only made when the ritual worship; bebali performances are dedicated to the ceremony but also to visitors; and Balih - balihan nature for mere entertainment in public placein public places.

If you own a suit of armor, have a black belt in martial arts, or just don't care about desecrating a sacred American tradition with pure greed, the barbaric annual event known as Black Friday may be for you.

2017 — LOG at LUMP Gallery, Raleigh, NC, curated by Maria Britton — AWKWARD MOMENTS, Lesley Heller Workspace, New York, NY 2015 — SACRED PLACES, Smithy Center for the Arts, Cooperstown, NY 2014 — MEMENTO MORI, Field Projects, New York, curated by Deborah Brown — CROWD, curated by Andrea Brown for The Outsider's Studio Collective, Liberty, NY 2013 — NYFA@GOVERNORS, curated by New York Foundation For The Arts for Governor's Island Art Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt Fair, New York 2012 — DAY JOB, curated by Nina Katchadourian, Freedman Gallery, Albright College, Reading, PA, and Pacific Northwest College of Art, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt, Portland, OR 2011 — HEAD CASE, Lesley Heller Workspace, New York, curated by Laurel Farrin — 30: A BROOKLYN SALON, BRIC, Brooklyn, NY, curated by Elizabeth Ferrer — CHAIN LETTER, Samsøn Projects, Boston, MA — NEXT Art Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt Fair, Linda Warren Gallery booth, Merchandise Mart, Chicago 2010 — DAY JOB, The Drawing Center, New York, NY, curated by Nina Katchadourian 2009 — ONCE UPON A TIME AND NOW, Evanston Art Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt Center, IL — THE HAIRY WHO AND IMAGIST LEGACY IN CONTEMPORARY ART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackART, at ART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackART CHICAGO, Merchandise Mart, curated by Lynne Warren, Museum of Contemporary Art, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt, Chicago — ART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackART CHICAGO, Linda Warren Gallery booth, Merchandise Mart (Also 2006, 2007, 2008) 2007 — THE MISSISSIPPI STORY, Mississippi Museum of Art 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt 2006/7 — RAGDALE, Chicago Cultural Center, curated by Margaret Hawkins 2006 — SALTONSTALL: THE FIRST TEN YEARS, curated by Andrea Inselmann Herbert Johnson Museum, Cornell University, Ithaca, NY — RISD BIENNIAL, Exit Art, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt, New York, NY, curated by Robert Storr — ARTLA, Linda Warren Gallery Booth, Santa Monica Civic Center, CA — ART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackART ADORED: Icons from the Permanent Collection, Mississippi Museum of Art, JackArt, Jackson

The sacred spaces created by Vercruysse in these works are known as Chambres or Tombeaux and represent the artist's last - ditched attempts to create art that refers only to itself.

Synthesizing sacred geometries with 20th century avant - garde literature, Chimes remained largely isolated from contemporary art circles over the course of his long career in Philadelphia, working with a singular intensity that is perhaps best ascribed to the archetype of the hermetic alchemist.

Historically, most visual art has been in some degree mimetic, and sacred art is no exception.

We discuss, among other topics, about photography in the Middle East with Peggy Sue Amison, artistic director at East Wing; net art and networked cultures with Josephine Bosma, Amsterdam - based journalist and critic; urban digital art and criticality in the media city with curator and researcher Tanya Toft; art and technology with curator Chris Romero; the politics of surveillance and international security with political scientist David Barnard - Wills; art and architecture with Maaike Lauwaert, visual arts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerlänarts curator at Stroom, an independent centre for art and architecture in the Netherlands; the intersections of art, law and science with curator and cultural manager Daniela Silvestrin; the architecture of sacred places with curator Jumana Ghouth; the historical legacy of feminism today with Betty Tompkins and Marilyn Minter; hacktivism and net culture with curator and researcher Tatiana Bazzichelli; culture, place and memory with Norie Neumark, director of the Centre for Creative Arts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina SauerlänArts in Melbourne; anthropology and the tactical use of post-digital technologies with artist and philosopher Mitra Azar; or feminism and the digital arts with curator Tina Sauerlänarts with curator Tina Sauerländer.

He placed his work in the realm of the sacred, and his later works continued to reflect his pursuit of creating art that requires internal discovery both on the part of the artist and the viewer.

She is a specialist in ancient South American art and architecture and her dissertation, entitled The Huacas of Machu Picchu: Inca Stations for the Communion Between Humanity and Nature, argues that huacas, or sacred places, defined the relationship between nature and human ritual practice.

Back in Manhattan, I relaxed in the plush screening room hidden within the Bumble and Bumble hair salon, where Rainer Judd was unspooling a sweet short about her father's transformation of Marfa, Texas, from a cattle town to a sacred art site.

Where the literary proposals of the original mirrors for princes contemplate the divisions between self and other, male and female, sacred and profane, Slavs and Tatars» turn to everyday ritual casts governance as self - governance, a universe of ambiguities, or in their own words: «the heart and art of politics.»

In Chris Ofili's work painterly and cultural elements — both sacred and profane, personal and political, from high art and popular culture — come together to play on ideas of beauty while carrying messages about black culture, history and exoticism.

He referred to this new body of work as «congregations» to reiterate his belief in art as sacred ritual.