5 comments about The Sistine Secrets: Michelangelo's Forbidden Messages in the Heart of the Vatican.

1. A composite of history, art, and religion..Obvoiusly, well-researched. The authors, Rabbi Benjamin Blech and Roy Doliner have collaborated on their own work of art, The Sistine Secrets. Fact and fiction are clearly delineated, most often with explanation. Those who read and find this book a stretch of the truth may only be limited by their own fear of the unknown, thus being close-minded. Accepting the integrity of the authors, I welcome their refreshing approach and open-mindedness. Truly a collboration of perspective, belief, and research. The Sistine Secrets is an enjoyable and informative read for the scholar and novice alike. Kudo's to all involved in this endeavor!



2. I didn't like it. I would have liked for the authors to announce in the title or cover that the book is about how their theory of the kabbalah/judaism influenced Buonarrotti, sometimes in a really far-fetched manner. It's really more a history of Judaism revised with the excuse of the artwork. For a more balanced historic view I prefer Ross King's "The Pope's Ceiling".



3. Just as the Sistine Chapel was a piece of art so too is this piece by Benjamin Blech in uncovering century old secrets. Between the book's progression and its shocking depiction of the secrets behind a timeless masterpiece, this work is without a doubt one of the most important prints of the decade.



4. I just finished reading this book - and now I know the answer to what perplexed me when I read some of the previous reviews on Amazon.
   
   This book is BRILLIANT, entertaining, very erudite - as per the approbation by the great Michaelangelo scholar Enrico Brushini who wrote a very complimentary forward - and highly readable. So how come some reviewers trashed it in the most disrespectful manner, even as a slew of others gave it 5 stars?
   
   Because this book is an eye-opener and goes against traditional interpretations, so people with an ax to grind who are close-minded of those with a specific agenda, who believe, wrongly, that this book in any way criticizes the Church of today feel that they have to condemn it. That is assuredly the face of a controversial book that dares us to view a famous work of art in a fresh and startlingly new manner.
   
   I challenge any reader who comes to this book with an open mind not to be overwhelmed and ultimately convinced of its remarkable new insights. Do not be swayed by reviewers who in passing happen to mention that they wrote their own analysis of the Sistine - and of course anyone else who offers a different interpretation is guilty of a "debacle."
   
   Read it for yourself. You are in for an incomparable treat!



5. I have recently finished "The Sistine Secrets" and find it to be artfully crafted, intelligently written and accurate in its research. The writers have something of import to say and they say it well. Unlike the Da Vinci Code this book inspires the reader to think of "treasure" in terms of truth seeking rather than gold. Yet it captures the imagination with as much excitement. I particularly find the tie-in to Deaf cultural studies and the references to the refined gestural communication of their language to be a fascinating angle for analyzing the images in question. The ability to combine such a range of disciplines into a cohesive "map" for the reader to follow the research is brilliantly done and will have appeal to both the serious scholar and the gentle reader of more popular fare. These authors are able to take abstract images and compellingly suggest concrete reasons for the artistic positional/gestural choices, historical context, personal artists' perspective, political impact and much more. You may be excited, angered, thrilled, humored or shocked by the revelations in this book but as the authors say at the end of the last chapter:
   "All the world is a very narrow bridge - the point is this - to have no fear."
   The exploration of truth requires a lack of fear for what it might expose.
   
   Luane Davis Haggerty Ph.D.
   Leadership and Change through the Arts, Antioch University
   Assistant Professor of Creative and Cultural Studies
   National Technical Institute of the Deaf at Rochester Institute of Technology

5 comments about The Return of the Prodigal Son: A Story of Homecoming.

1. Henri Nouwen had a truly God-given gift - the gift of explaining timeless spiritual truths in very clear, ordinary language in a conversational and deeply captivating way. His words and his explanations imprint themselves into the memory and stay in the heart, and truly help to change lives. Much of his wisdom surely comes from his own struggles, which he admits to in the book - he personally struggled with depression, pride, desire for success and fame, envy, etc. - common human ailments. He also struggled with feeling unworthy of God, and with feeling distant from God. Yet, he learned to overcome his struggles (though he admits that he is still on a journey), and he describes how.
   
   This is the third book I have read by Neuwen. After reading Life of the Beloved I really didn't think that anything could compare, but this book, if not better, is at least just as good. It is an instantly timeless spiritual classic. The whole book is a reflection on Rembrandt's painting, The Return of the Prodigal Son. First Nouwen reflects on the younger son who came back from a foreign land. Then he reflects on the older son who witnesses his younger brother's return. Finally, Nouwen reflects on the father figure. His insights are deep and beautiful. He leads the reader to a natural and yet incredible insight: that after identifying ourselves with both the younger and older brother, we must realize that rather than being either of these two brothers, we are called to become the father!



2. "Return of the Prodigal Son" is a wonderful opportunity to hear the gentleness and genius that was Henri Nouwen. The book was originally a talk given at retreat when Nouwen was 57, about 8 years before his death, in the time following his famous service at Toronto's L'Arche Daybreak facility for severely handicapped adults. Nouwen's humility is on display, as are his deep spiritual and psychological insights.
   
   The impetus for Nouwen's reflections was Rembrandt's "Return of the Prodigal Son," painted when the artist was elderly, and following multiple tragedies in his own life. Nouwen's inspiration is less the painting, though, than the parable. His lecture is split into three parts, focusing on the younger son, the older son and the father. Nouwen's take on the parable is Jesus's radical break with interpretations of God that held sway in his own day as they still do in ours. The God that Jesus defines is not angry, vindictive or retaliatory, but completely open in love and forgiveness. While many will agree with this description of the Father, fewer will agree with Nouwen that this image of the Father exists the rest of Holy Scripture (both OT and NT) as well. While many of us are willing to accept Scripture's seemingly schizoid vision of God, Nouwen does not. He is completely committed to the loving father portrayed in this parable. For those committed to the God of condemnation, hell and judgment, Nouwen will be a disappointment (or a challenge). Human beings separate themselves from a God who is always anxious to take them back, teaches Nouwen.
   
   In Nouwen's take on the story, the younger son teaches the journey from dissolution to containment. Dissolution includes dissipation of the kind associated with the younger son in the parable -- insults to parents, arrogance, squandering of resources, immorality. But dissolution extends to other activities and attitudes that spread our energies beyond our capacities. We spread ourselves too thin, spiritually, usually out of a desire to impress those in our lives whom we want to impress or influence. But by recognizing our sonship with God, we realize that we do need to impress of fathers (whether heavenly or worldly) into loving us, allowing us to bring our spiritual energies into containment and focus. The elder son often lives in our hearts alongside the younger son. The elder son's error is in resentment and separation. He cannot rejoice that "this son of yours" has returned from death, whining about his own ceaseless and unrewarded labors. But his error also speaks to a misunderstanding of the Father's love. He feels he will be loved *because* of his obedience (evidently given grudgingly) and has missed that his gift is to have been in the presence of the Father all along.
   
   Nouwen's deep insight into the parable, whose subtlety and profundity become apparent the more listen, is astounding. The parable has the power to heal as well. For any who have felt conflict or hurt in family situations, as has Nouwen himself, the parable points the way toward a recognition of our true place in the world, and in God's eyes. This is not a dewy "I'm OK, You're OK" insight, but can lead to a profound shifting of our existential relationship with ourselves, our parents and our God. What false fronts and defenses we might shed if we truly believed in a God who loved us as beloved children -- no matter how far astray we had gone?
   
   Nouwen's style and delivery belie the intensity of his own struggle and the wisdom of his teaching. Yet the insights continue rolling in, like waves following the passage of a ship, long after the book is over. A fascinating and potentially life-changing book.



3. This book opened up so many different ideas on the well known story of the Prodigal Son. I loved reading this book. It was my first Nouwen read, and it definitely will get me reading more of his books. If you are not familiar with Nouwen, this is a good first read.



4. This is an excellent life changing book. Presents the core truth of the Christian Gospel in a way that touches everyday attitudes and struggles. A book so personal and touching you may find that Nouwen is addressing your own unique circumstances. I certainly did. You may find yourself thinking about a new way to live. This book changed my life.



5. Everyone needs to reflect upon their life at some point. This book is excellent in helping one to see how their journey in life has brought them closer to God.

5 comments about Praying in Color: Drawing a New Path to God.

1. This book offers a very creative way to use simple drawing materials and doodling as a form of prayer. Using color, shape, and lines makes it easy to stay engaged in prayer, whether on behalf of others or for oneself. The finished product is a visual reminder of the prayer.



2. In meetings or in church I doodle constantly. It helps keep me focused. This book has bought a new dimension to prayer and doodling. As soon as I received this book I started to put it into practice. I spent over 15 minutes colour praying for my 29yr old son and it was a time of great joy and rejoicing. I've found that these visual prayers stay with me through the day so that I'm beginning to understand more what it is to pray without ceasing.



3. This book is good.. i mean really good.. (Hey everyone, come look at how good this book is)!.. i love it.. its very creative.. and im not.. so its fun.. and its cool to look at old prayers you drew.. sweet..



4. I read a summary about the book in Christian magazine. I did not purchase it for myself, but for my mom-in-law. I gave it to her for her birthday. A few weeks later she told me it was "right up her alley". That tells me that it will be a blessing to her.
   
   Thanks!



5. This book is so creative and fun. I love it.
   It is easy to read and begin to put into action.
   It would even be fun to use with children.

5 comments about The Lost Painting.

1. I was given the book to read by a friend who loves museums. It was a wonderful book and now when I visit museums in Rome my husband and I always head for the Caravaggio paintings (it helps that we live here). The book was interesting and I read it straight through. I have recommended it to others also.



2. "Less Than Illuminating - Review of Jonathan Harr's The Lost Painting"
   Daniel Jimerfield
   
   Caravaggio was an Italian painter who died at the age of 39 in the year 1610. During his lifetime, he had achieved a mild degree of celebrity which was not to last. It was not until 1941 that Roberto Longhi, the acclaimed art historian, began to champion Caravaggio as the "least known (Master) in Italian art." Longhi put together an exhibition in 1951 which would lead to a resurgence in appreciation of and interest in Caravaggio that continues unabated to the present. In fact, many art enthusiasts can be said to display symptoms of the "Caravaggio disease," an unhealthy obsession with the newly reconsidered Master.
   Caravaggio's style has been described as "excessive naturalism" or a "shadowy scene depicted by a single light." He is ultra dramatic and not without a certain dark humor. Arriving in Rome from Milan in 1592 at the age of 21, Caravaggio was destitute so he began to carve small, crude statues for simple room and board. He also sold paintings of his own devising on the street like other young artists. After making the acquaintance of an art dealer named Constantino Sparta, Caravaggio began to sell work to more prominent members of society. He found his first patron in Cardinal Francesco Del Monte who purchased "The Cardsharps" - a painting showing two card hustlers cheating a rich, young man out of his money. The Cardinal offered the artist room and board and the freedom to paint. Apparently, Caravaggio was an exceedingly unpleasant person - once, after the police had stopped him for carrying a sword and dagger in public, he produced a license and uttered some choice expletives. Caravaggio became embroiled in serious feuds, committed some crimes, and was forced to flee Rome. On the run and afraid, he died of exposure shortly before receiving a pardon for his misdeeds.
   Only 80 authentic Caravaggio paintings are known to exist. Many experts enjoy disputing whether versions are authentic or not. Roberto Longhi and Sir Denis Mahon, two outstanding art history minds, disagreed over which of two versions of "St. John the Baptist" was the real thing. Sir Denis Mahon's so called Capitoline version is now generally credited with authenticity. In Jonathan Harr's "The Lost Painting," he recounts this epic, academic battle in a narrative, non-fiction fashion, attempting to spice it up along the way with relatively interesting but largely inconsequential details. The true subject of the book, of course, is the long misplaced Caravaggio "The Taking of Christ," known to have existed but lost to the sands of time. Harr tries to add a romantic, racy element to the book with his inclusion of an art investigator's love life, an unneeded and distracting side plot that adds little except for perhaps more readers. The painting is eventually located in an abbey in Ireland and Harr once again moves the focus to an Italian art restorer who may or may not have slightly damaged the painting when he performed a much needed relining. Harr spends too many pages dwelling on petty, interpersonal intrigues that, in the end, have no connection to the true drama that was Caravaggio's life and passion.
   I have read a great deal of books in this genre and in the main find them to be not only highly readable but surprising and informative. I had hoped that Harr's book would fulfill some of these same qualities but I found I was disappointed. I feel "The Lost Painting" would have made an arresting, lengthy magazine article but it did not warrant a full length book.



3. Given the dry nature of Art History this book is a great page turner. The pace and writing make this read like something out of fiction. An outstanding read.



4. A great idea ruined by boring writing and a plot that wouldn't get going, and characters that garnered zero sympathy. Perhaps this book was trying to ride the coattails of the commercial success of The DaVinci Code, which is equally matched in uninspired writing style as this.



5. 
   A fascinating story about a lost masterpiece by one of the most enigmatic painters of all time. This is a non-fiction book that reads like a thriller. Jonathan Harr masterfully tells a story of 1993 discovery of a lost painting by Caravaggio, one of the first and most influential of Baroque painters. The gist of the story: two young Italian graduate art students, by sheer tenacity, track down a priceless painting that was considered previously lost. The beauty of the book is in the details, of course.
   
   The book pulls together ambition, greed, vanity and obsession - all the essential ingredients of a good treasure hunt! The author skillfully crisscrosses four centuries and half a dozen of countries to trace the story of "The Taking of the Christ" - a brilliant work by mad genius who was Michelangelo Merisi da Caravaggio.
   
   The enigma of Caravaggio lives on, as we learn of a troubled painter (a rebel and a convicted murderer) who died before turning 40 but left a plethora of gems for the world to marvel at.
   
   A treat!

5 comments about Michelangelo (XL Series).

1. I've read the reviews and I've seen the pictures of this book in sales and review sites, but, believe me, none of this can prepare you for the thrill of holding this huge work in your hands (if you're strong enough). Seeing the incredible layout of, say, the Sistine Chapel frescos in close up views that very few, if any people have seen before is something you're never going to forget.
   
   The facial expressions, the fine details, in both the paintings and the sculptures of Michelangelo, are seen throughout the book in a way only one standing within inches of the work could see. And the result is incredible and inspiring.
   
   The amazing overall quality of the book makes the retail price, let alone a reduced price, seem like a real bargain! All art lovers owe it to themselves to BUY this BOOK!



2. This is a magnificently made book, but it suffers from a serious problem... Michelangelo's frescos have been ruined by "restorers" who crudely stripped off his glazes and ineptly repainted them with candy colors. So the book does a phenomenal job of documenting what's left of them, but I wish they had gotten there a couple of decades ago! Aside from that, the sculptures, drawings, etc. look great.
   If you want to find a good, inexpensive book that actually has nice photos of the pre-restored paintings, try Michelangelo: Sculptor, Painter, Architect by Charles Sala. You can really see the difference--THAT WASN'T DIRT, YOU MORONS!! THAT WAS PAINT!!!!!



3. "Beautiful" describes this book. The content of the book -as little as I could read at the first browsing- is profound, yet accessible and understandable for the amateur.
   
   The printing of the book is astounding in respect to size and quality of the paper and printing. The spreads are impecable. It is worth noting that two different types of paper were used in the book. The first section is high quality brilliant couche, while the second part (the one that reffers to the catalogs) is on a different kind. This detail adds to the quality of the book.
   
   Highly recommended. Great value for the price.



4. This book is utterly magnificent, from the photography to the stunning paper and print quality.....we LOVE this book! The art simply pops off the page.



5. Amazon was prompt in getting this product to me, and when it arrived the first thing I was impressed with was the size. Upon reading the book I found the quality of the images to be very high, and the text informative. It has certainly inspired me to see these wonderful works of art in person!

5 comments about Imagine: A Vision for Christians in the Arts.

1. A couple of years ago I interviewed singer/composer/producer Charlie Peacock for an online magazine. He sent me a copy of this book, and since then I have read it through about five times. Turner's insight and vision for Christian artists of all disciplines is almost incomparable in the modern church. He backs up his assertions with any number of contextually accurate scriptural references, and provides more encouragement for the bored and searching artist than he does condemnation of the status quo in Christian-produced art (although there is plenty to condemn). I consider this book absolutely essential for every Christian musician, dancer, painter, poet or artist of any color. It will radically transform your vision for glorifying God if you take its message to heart.



2. Steve Turners book is very accessible. It should be part of the basic reading and discipleship for all Christians, not just artists. But as the other reviewers have mentioned, He redeems art, or creative expression in most all its form, as a field of practice and calling for Christians. So his work should be read by those confessing Christ and interested in creative endeavors. Turner encourages and gives Christians the vision to be instruments of hope, beauty and truth- instruments of redemption- in and through the arts. Turner does a good job explaining why there is so little protestant involvement in the arts. And to a lesser extent he explains why that little involvement has had even less influence. Turner's work is a good starting point on a bibliography of redeeming Culture- Francis Schaeffer Art and the Bible (L'Abri Pamphlets), Hans Rookmaaker, Greggory Wolfe, Makoto Fujimura It Was Good: Making Art to the Glory of God are few others in a increasingly longer list. Enjoy!



3. Steve Turner did an excellent job with this book. It is a very easy read but is well thought out and insightful. He does a good job of outlining the historical reasoning for the sad state of "christian art" today. But, he also does what other authors pretend to do but never actually accomplish. He provides a solid theory from which Christian artists can work. After explaining the historic reasons for our situation he then discusses the issue from a solidly biblical perspective doing a good job of puting the scripture in context for this discussion. He rightly argues that art produced by Christian Artists needs not be overtly religious. God is the God of the "secular" and the "religious".
   
   Especially helpful is Turner's theory of five concentric circles. The cicles represent diferent levels of direct religiosity in the work with the outer showing no specific workview and the inner being focused on the cross. But, Turner goes further and asks if it is actually possible to produce the type of powerful art he is advocating and then he backs up his arguement with examples.



4. I work with performing artists in the area of healthcare ministry, but I am not an artist myself. Thus, this book has really helped me get out of my self-inflicted box of what I thought "Christian art" and "art by Christians" should look like. The book was recommended to me by the president of the arts ministry agency I serve with, and I would be neglectful if I did not pass the recommendation along. You will not find another book that that is so helpful as you wrestle with where the arts fits with Christianity. What a refreshment Steve Turner has provided. Now, BUY THE BOOK!



5. This book was everything I wanted--excellent writing, super information, and timely! Thanks!! Hope MANY people read this fine piece of work! I am presenting a program on Christianity and the Arts--and this book has been very helpful!

5 comments about Stories in Stone: The Complete Guide to Cemetery Symbolism.

1. This book is excellent for anyone interested in cemetery symbolism and/or genealogy. The photographs make it all the easier to understand. I highly recommend this book...it's one of the best of it's kind that I have found.



2. I found this a facinating book. It was ordered for one particular cemetery display but was found to contain some amazing monumnets. I would recommend this book to anyone who enjoys cemetery or religious art.



3. Dead men may tell no tales, but the symbols on their tombstones do. This guidebook is geared for genealogists and cemetery fans. Several chapters on cemetery symbols include Flora, Fauna, Religious Symbols, Secret Societies, and Mortality Symbols. Other chapters are a guide to cemetery architecture, tomb types and a selection of unique tombs.
   
   The book is illustrated with numerous photographs and includes an alphabetical listing of acronyms and abbreviations of societies, clubs and organizations. A chapter on mortality symbols discusses everything from the skull and crossbones to the grim reaper. There are chapters on symbols of flora (plants), fauna (animals), and religions (Christian, Hebrew, Chinese and Japanese), including descriptions of different kinds of crosses. Angels, who seem to gather in cemeteries everywhere, get their own section called "Heavenly Messengers." I was especially impressed with the chapter devoted to secret societies and organizations such as the Masons/Freemasons, Woodmen of the World, Knights Templar, Knights of Columbus, Odd Fellows, Grand Army of the Republic, Shriners, and others. Each of these is illustrated with an example photograph.



4. Information is great but format leaves something to be desired. Book is odd size especially considering price and type is very small. Get out your magnifying glass for this one. Layout and type really take a lot away from the book.



5. Even aside from cemeteries and graveyards, the information alone on symbols, emblems and icons is immensely resourceful. These combination visuals appear elsewhere too, not just in stone- not just for the dead! Many symbols for older societies and secret organizations in our world are touched upon, and their origins explained. Just a wonderful book. -Best, I love the format- easy handling! -For every designers' bookshelf.

5 comments about Signs and Symbols in Christian Art: With Illustrations from Paintings from the Renaissance (Galaxy Books).

1. When I bought this book, I needed a quick and dirty reference to religious symbolism in western art--I was pleased and surprised to find out that it's small, lightweight, and therefore portable when I visit museums. (Why don't more publishers consider weight and size when they print books for travelers? Lonely Planet and DK, I'm looking at you.)
   
   Its easy size belies the incredible amount of useful information it contains; there are fourteen sections covering everything from the significance of certain animals to religious garments to a brief hagiography for commonly portrayed saints. About one-third of the book is a set of reproductions (sadly b&w in this edition) of famous renaissance religious paintings. There's no discussion or explanation accompanying the paintings--which is the only thing I don't like about the book.
   
   And if you read one of the earlier reviews and are wondering about the chocolate mouse in Rosemary's Baby, it's a reference to mice as a symbol of evil because of their destructiveness.



2. I use this book frequently, especially when studying art books of Christian art as well as during a recent Bible study of the Book of Exodus. This was an invaluable guide to the symbolism used in art and the various meanings. For example, when studying the symbolic meaning of the priests robes of the Old Testament, the meaning of the pomegranate for the OT and NT is significant. In the OT, the pomegranate stood for the 613 Mosaic laws (the pomegranate was thought to contain 613 seeds). In the NT, the pomegranate is the symbol for the resurrection of Christ. The Hebrews believed following the law led them to God. For the Christian, belief in Jesus' death and resurrection leads to God! Enjoy this read.



3. Although not encyclopaedic, this book, first published in 1954, is indispensable to the art history, religious art, iconographic, and religious lives student. The essays are of significant depth without excessive volume, and the illustrations, although of a limited period (Medieval through Renaissance), are pungent enough from which to learn. Two limitation I will remark:
   There are no representations from Eastern- or Byzantine- iconography.
   The illustrations are all black and white.



4. I study Art history, and christian art. This book primarily focuses in on Renaissance paintings and thier symbols. I found it to be useful and detail orientated. A very good reference book.



5. If you are an art history student, this book is an absolute must. While there are many books that contradict one another when it comes to symbolism, this book is one that commonly agrees with others I have read or consulted.
   For as inexpensive as this book is, you cannot afford NOT to get this book!

5 comments about Icons and Saints of the Eastern Orthodox Church (Guide to Imagery Series).

1. Although I agree with most of the comments made by the others who have offered critiques, I don't believe this book deserves a 5 star rating. This book has a lot of beautiful icons, and I enjoyed learning about the meaning of the imagery. There is high value in the diverse collection of beautiful icons. The book had three flaws that disturbed my enjoyment of the book:
   
   1) Icons are tied together by some general imagery. I am fairly ignorant with regards to icon imagery, but I know a little. For example, the use of the mandorla. A mandorla (round or almond shaped device behind an image) is used to mark something that can only be seen through the eyes of faith. The general meaning of colors like blue and red on the icons of Mary and Jesus, as well. A short guide explaining some of these general rules of imagery would have been a spectacular aid to those, like myself, who are woefully ignorant on the topic.
   
   2) The author expresses some theology in language that is inaccurate and likely confusing for the non-Orthodox Christian reader. For example, he uses the word "worship" to describe the Orthodox veneration of icons. Icons are never worshipped. Worship is for God alone. For the reader seeking to understand the Mystery of Orthodox icons, this would be a devastating and confusing statement. Icons are venerated (greatly honored), never worshiped. The teaching is that this veneration passes to the person represented in the image.
   
   3) The book was so small it was difficult to see some of the details in the imagery that the author was trying to illustrate.
   
   Overall, a very interesting and educational book with a wealth of knowledge about iconography, however, it could have been much better.



2. I have a lot of books about icons, orthodoxy, saints, and to be honest I never believe at I can find a new book that can teach me more. But miracles
   happens and this little book was a revelation. So full of information and images, this book is a gem.I sincerely recommended.



3. When it comes to the Eastern Church's wealth of Icons, so many are near impossible for westerners to discover. Many were either hidden (and often lost) during the Communist rule of eastern europe, or many were destroyed by the powers that be during that era. Other Icons in the book come from Lebanon, Egypt (St. Catherine's monestary), and Greece, some dating back to the 6th century. So, for a complete overview of the Orthodox love of Icons, this book has a plethoria of icons not seen until now, and never in such a complete overview in one book. The only orthodox Icons not covered, are those from India, and Ethiopia, which are apparently outside the scope of the book. Some of these icons are beautiful beyond imagination. With each icon, all in FULL COLOR, and covering a single page, comes simple little remarks as to what the imagery represents in each Icon. Also, the book is divided into sections, with Icons of Christ, Mary, Saints that lived in towers, Saints who were martyrs, and so forth. This makes it easy to study the iconology of TYPES, and not a simple alphabetical approach, as in the western art book in this series does. (St. Ambrose, St. Boniface, etc.) I sadly have this warning to give however. I had a FIRST EDITION of this book. However, it was "Borrowed" from me against my will, and they refused to return it to me, and I had to replace it. I ended up with a SECOND EDITION of the book,and the color isnt right on the prints. THe red plates are supersaturated, and the black plates seem too saturated as well, on many of the pages. I so much enjoyed this book, that I bought the COMPANION BOOK in this GUIDE TO IMAGERY series. If you are interested in the artistic representation of religious figures, the book SAINTS IN ART does for the western religious art world, what this book does for the eastern religious art world. Both books are from Italy initially, and are printed by the PAUL GETTY MUSEUM in the USA. The big difference, is that the western art, is obviously well known to anyone with college level art history study, and access to big city museums. These icons are art not seen in other books until now, for the most part. My other beefs with this book, are as follows. Besides the problems with the color in the second edition, most of these pictures are just TOO SMALL to really examine properly. This book is about 6 inches by 8 inches, so the pictures are reduced too far, to see the smaller details, where many of the symbolic features of the Icon can be found. Also, when they show what the icon is about, they draw black lines thru the pictures. But the pluses outweigh the minuses, and its well worth the cost. I only hope, that if they go into a third printing, they will fix the color balance to the book. I can highly recommend this book without reservation.



4. The Getty Museum's reputation for quality is upheld in this small format handbook. Chock full of reproductions, it includes obscure images.
   
   The color quality shows egg tempera's true and intense hues on feel good low gloss paper.
   
   Copy is like a short survey course-informative and addictive. This is a good reference book.



5. 
   Good things: For the price, this book has a way more bang for the buck than most icon books. Look at the number of pages, and each of them has an icon. The paper is very nice, glossy and heavy. The icons are explained in depth, with indications of the meaings of each part, and a short history of the icon.
   
   Nitpicks: I wish the book were a little larger, but then again I say that about all icon books. Also, I seriously wish someone would include Ethopian and Coptic and other Church icons in some of these books, especially one this size and this thorough. There were tons of the standard Byzantine/Greek/Russian icons, some of them redundant, which could have had some Syrian/Ethopian/Coptic/Arabic etc icons in there too. But these nitpicks aren't reason to not buy the book, or even deduct a star.

5 comments about Creating Mandalas.

1. This book contains simple tips for using simple drawing techniques to work on personal issues.
   
   I wish I had read more about this book before I bought it. I was looking for something like an illustrated how-to guide to the art of drawing complex Tibetan-like mandalas, that woud explain and elucidate the geometry and the symbology used in traditional renderings, so that I could create such wonderful masterpieces. Not at all what this is.



2. This book offers a very in depth study of mandalas. I was skeptical since mandalas are such a personal process that this book would be as comprehensive as it is.
   Excellent job and if you get the other two spiral bound mandala books that go along with this - you can get over the intimidation of an empty circle quite quickly. I now have SO MANY ideas for painting mandalas of my own that I only use the mandala "coloring book" (templates) for relaxation exercises in the evening.
   These books have truly been a godsend! Relaxation is the key and these mandala exercises are a great way to get there.
   Enjoy!



3. This book is an amazing way to find out more about yourself and where you are at any particular moment. I teach in a school for massage therapy and this is one of the things I do with my students. We spend a few hours discussing Mandalas and what their significance is and then they create one. It always gives them such great information and it's a great way to chart progress as well. Some of them do mandalas on their own throughout their time in school and we can watch them morph and change. This book gives detailed information, instructions and assements of what your mandala means. I highly recommend it.



4. A lot of great information! If you want to know about mandalas, get this book. No art. No actual mandalas. Still, the best info I've found.



5. Susanne Fincher brings you a wonderful, comprehensive and easy to understand book on creating Mandalas and the meaning behind them. This gem of a book explains how to create a Mandala as a reflection of yourself; Creating and Interpreting the meaning behind your Mandala; What each color means in the Mandala; Using numbers and forms. In the section on "The Great Round of Mandala Forms" there is a wonderful paragraph that will better help you understand how much this form of art therapy can help you heal, it states: "A healthy connection between the ego and Self is very important if one is to be a fully functioning person. It is this linkage that is forged by the individuation process."
   
   In this wonderful book's preface, Susanne shares that Mandalas are widely used by cultures around the world, such as Tibetan Buddhism, and Native American cultures. She genuinely shares how creating her own Mandala helped her to feel better while suffering through the death of a child. She shares how she uses Mandalas with individuals and groups in art therapy.
   
   On a personal note, I learned that if you create a Mandala with the wish or intention for something in your life to come about, and look at it every day, it WILL manifest in your life. I actually tried this, and much to my delightful surprise, what I wanted did come about within a week.
   
   Whether you want to create Mandalas for fun, healing, manifesting, art therapy, or just the joy of creative self-expression, this is one of the best books I have found on the subject.
   
   Highly recommended!
   Barbara Rose, Ph.D. author of Know Yourself: A Woman's Guide to Wholeness, Radiance & Supreme Confidence and Stop Being the String Along: A Relationship Guide to Being THE ONE