2 comments about The Power of Icons: Russian and Greek Icons 15th-19th Century.

1. Lovely book. Lavish with illustrations. Perfect for what I wanted.



2. This is one of the best books on the subject to have been published in recent years. It is very informative and well written - there are one or two minor spelling mistakes, but that does not affect the overall quality. So many books are repetetive and pedestrian that it is refreshing to find one which covers so much including the history of the thought behind the Icon as well as technical details. If anyone only wants two or three books on the Icon this should be one of them.

1 comments about The Old Testament: Through 100 Masterpieces of Art.

1. Lovely book with beautiful photos. 13-year old recipients don't care too much now, but their parents like it, and one day the kids will too.

5 comments about Song of Creation.

1. I ordered it because I am interested in wildlife paintings, but besides being delighted with Carl Brenders stunning works, I was surprised with the beautiful texts from the past that invite us to think!
   Beautiful book!



2. I already had the book "wildlife, the nature paintings of carl brender" but I am still happy I got that book. It's not only a handfull of paintings, but 15 paintings that appear in that book and that are not in "The Nature Paintings of Carl Brenders". There is a beautiful portrait of a tiger, a polar bear standing on snowy bank, Broken Silence, and a few others of his famous paintings that have sold out as print and that you can't find anywhere.
   
   I think without this book the collection of his work is simply not complete. With the 2 books, one has a much better representation of Carl Brender's work. In the Song of Creation, one can find especialy his earlier paintings.
   
   The printing is a little lacking in vivid colors, but the images are still of good quality to see the detail in the painting.



3. If you're a steadfast fan of Carl Brenders, and already own his previous book "Wildlife," there would be little use in purchasing this book. All but a handful of the paintings that appear in "Songs of Creation" are also found in "Wildlife," where they are printed, for the most part, in a larger size. In "Songs of Creation" the prints are smaller, and some cross the centerfold of the book, making it difficult to see the entire work. Nevertheless, it is still a beautiful book, and may be a decent substitute if you hesitate to purchase the more expensive "Wildlife."

   Carl Brenders is an extremely talented artist, and produces some of the most gorgeous realistic animal paintings around. His work is easy to mistake for a photograph at first glance if you haven't seen one of his paintings before. This particular collection contains 36 of Brenders' paintings, depicting a variety of animals: bears, eagles, deer, wolves, foxes, big cats, and more. The layout is fairly nice, with pleasing background colors, though I still prefer the look of "Wildlife." The only major drawback is, as I mentioned before, the fact that several paintings cross the centerfold.

   As the title might suggest, each work is accompanied by a verse of poetry or an excerpt from the Bible. The text is all very Christian, but non-Christians could easily ignore it in favor of the artwork, if inclined to do so. In terms of poetry, it isn't that spectacular in the first place. To get to the bottom line, I'd recommend this only if you don't want to spend the money on "Wildlife." It's not a bad collection in and of itself, but "Wildlife" is much better and contains nearly every painting seen here, minus the poetry.




4. I had never heard of Carl Benders before and just happened to see this book in a store where I was browsing. The art work is breathtaking, and knowing that lovers of Benders' work are (according to other reviewers)dissapointed with the book only tell me Benders work must truly be stunning.

   This book is a very reasonably priced introduction to a wonderful artist. I can't imagine any one not enjoying looking through this book. It's certainly worth the modest price .




5. I don't know about these other reviews of this book. This artist is the best of the best! You don't get any more real than this man! His art is breath taking and if you were to put this book out on a table at your house, everyone that would look at it, would say are these really paintings? I can't imagine anyone could produce such realistic art! Take it from me this man is a ledgend!
   Buy it, don't listen to the other critics!
   Trust me, you'll thank me!

4 comments about The Forbidden Image: An Intellectual History of Iconoclasm.

1. Besançon, director of studies at L'École des Hautes Études en Sciences Sociales, Paris, is a leading expert in Russian politics and intellectual history. While not a theologian, nor a historian of dogma (he makes a few mistakes here), Besançon's analysis of the norms guiding the representation of the divine within the Hellenic, Roman, Jewish, Early Christian, early and late medieval eras as well as the Renaissance and Baroque periods, and a bit of the modern era, are quite thorough. ALthough he paints with broad strokes, there are plenty of details to keep the expert busy.
   
   Besançon discusses in detail the notion from Plato that we are drawn to contemplate God in image, but yet there is no image that can depict the divine. This is the classical apophatic and cataphatic paradox within which the truth of Christianity, and many other religions, exist.
   
   As to the rest of his themes, I can only say that I am most familar with the Hellenic and Eastern Christian philosophies of art, and in this the author is generally aquanted, but not so expert as I would have thought at first glance. Read Quenot's book on Eastern Christian icons or those of Vladimir Lossky for a more substantial assessment and explination.
   
   
   



2. You definitely can't tell this book by its cover. Not only are the title and the cover's synopsis very misleading, but the picture you see on the front of the book has nothing to do with the book's subject matter.

   I bought this book because it was recommended by The Economist in a book review when it was first released. It appeared to be an interesting discussion about how different religions have accepted or rejected images that were memorialized in print. In light of the Taliban's destruction of the Buddha statues, I was especially interested in this topic to enlighten me about how various cultures have viewed the representation of God, gods, people, animals, landscapes, etc. The Economist review and the book's cover led me to believe that this book would enlighten me in that regard. It didn't.

   Be forewarned that this book is almost entirely about religious images and Christianity. There is some discussion in the beginning of the book about images of gods in ancient times (and what Plato and Aristotle thought about them), but most of the book is about the iconoclastic and iconophilic schools of Christian theology. (The discussion about iconoclasm in Judaism and Islam is limited to a few pages.) Hence, I would characterize this book under the heading philosophy, not art.

   My only other comment pertains to the writing. Keep in mind that Besancon wrote this book in French, so you are reading a translation. I don't know if it's because of the writing in the original, the translation or the subject matter, but this is a very dry read. I will confess that I keep the book on the bedside table to provide soporific assistance. Calling itself an "Intellectual History" does not, to me, give a book license to be painfully boring.

   While there are some interesting passages (such as the discussion about the Trinity in Christianity, which was helpful in explaining the concept of the Holy Spirit), I rate this book as two stars. I do this primarily because it was not what it purported to be. It would have been more aptly entitled, "The Depiction of the Divine in Christian Theology." And the cover picture should have been from a painting of a crucified Jesus. But then again, that probably wouldn't sell as many copies.




3. Forbidden Image is a college-level intellectual history of iconoclasm which examines who the representation of the divine came to be a philosophical issue, with the idea of 'graven images' receiving different interpretation by different religions. Philosophy and theology blend in a comprehensive examination of how the status of the image has changed over the centuries.



4. This is a thorough and entertaining history of the critical fortunes of religious imagery. The author tells the long controversial story of the many debates surrounding the worship of images of gods and other notables in Western culture. Starting with the proscription against the Golden Calf and the Hebraic and Islamic laws against the 'graven image," Besancon tracks the history of this debate through Greek and Roman culture, the various phases of early and medieval Christianity, including the ways in with the Eastern and Roman Catholic churches have dealt differently with the problem. Besancon then tracks the status of the religious image through the Renaissance, and how it was perceived by Enlightenment philosophers. He ends with a discussion of how art came to be perceived in religious terms and how the artist came to be perceived as a kind of romantic god starting in the late nineteenth century. He ends with a discussion of the tense relationship between modernism and spirituality, dealing with the art of Kandinsky, Mondrian, and others.

   The book is a little strange: one is always aware that Besancon has his own view of things--but it is a highly learned, far-ranging and charming view. Highly recommended.

3 comments about Sacred Mirrors Cards.

1. Alex Grey's art has interested me for quite some time. Wasn't really sure what I was buying but I figured "What the heck, why not?" If you like the art, and want some explanation behind it, these cards are for you. Each card has a "Poem", per say, on the back of it. It's a tour through the spiritual anatomy. I would recommend these to anyone interested in the chakras, your spirit, or just for curiosity. AND if you are a TOOL fan, check these out. A lot of albums have Alex Grey's art on them. If you like Tool, you've got to love Alex Grey.



2. I thought these cards would be more inspirational and have messages worth pondering. The poetry is second-rate, at best. It is not really poetry at all, but rather ramblings and explanations of what the art is supposed to be. Poetry is supposed to speak to your five senses, not sit flat and hard to read. The art on some cards is exceptional, but on other cards, it looks like the pictures in my anatomy textbook. I'm very disappointed in these cards, and I really feel as if I wasted my money.



3. "The Sacred Mirrors are a journey through our physical, socio-political, and spiritual anatomy." - Alex Grey
   
   Arguably best known for his "X-ray" paintings, transcendental artist Alex Grey melds the anatomically correct with the visionary in the Sacred Mirrors Cards. The twenty-three cards in this boxed set are intended to lead viewers through the process of theosis. That is, we may draw closer to God by contemplating the iconic archetypes portrayed on the cards and by seeing others, the world and ourselves as reflections of the Divine.
   
   Intending to remind us of the pure wonder that can accompany our Earth journey, Grey says, "My life is committed to making artwork that wakes people up to the miracle of Life". From skeleton to viscera, nerves to auric fields, Spirit infuses the "mundane" mechanics of the body as surely as the magnificent emanation of love and community.
   
   At 8 ¼ X 4 ¾ inches, the Sacred Mirrors Cards are quite large, depicting colorful imagery on one side and poetic meditations on the other. For example, on the back of the card depicting the lymphatic system, Grey writes:
   
   "Lymph, holy water of life,
   Bathing every cell
   With nutritional healing plasma.
   Mysterious cleansing cousin
   Of the cardiovascular.
   Nodes that swell when inflamed,
   Pick up the pieces of the circulatory system.
   Take away and destroy invading predators.
   Purify, recycle and regenerate white blood cells,
   Lymphocytes, my defending militia.
   Immunize me.
   Keep me safely healthy and whole,
   My guardians of the realm.
   On a micro-level border patrol
   Thou are the decided of what is and is not me."
   
   Six of the twenty-three cards show nude males and females from Caucasian, Asian, and African ancestry. The poetry is basically the same on all six, except towards the end where Grey offers a comment about the specific image.
   
   My favorite image from the Sacred Mirrors Cards is of Sophia, where all seeing, all knowing eyes bejewel her pink etheric gown. The Earth lies where her heart would be, doubling as the "brain" for a gestating baby. A luminescent halo encircles futuristic glyphs, while her third eye is wide open in a penetrating stare. The only thing that mars this otherwise glorious painting (in my opinion), is the disturbing image of Kali copulating with a reclining male (soon to be dead by her knife?). On the other side is baby suckling at a woman's breast, so I get the point of life and death being on the same continuum but...
   
   The Sacred Mirrors Cards are indeed unusual, and would likely be enjoyed by fans of both Alex Grey and Ken Wilber. However, I find some of the imagery a bit gruesome and Grey's sentiments a bit "top heavy"--an analytical, rational approach to spirituality. This is, of course, a legitimate portrayal and path to Spirit, for All That Is does indeed lie within muscle, bone, and blood--the latter being our very (earthly) life force.
   
   But, alas, contemplating organs and guts aren't my particular cup of tea. And, to be fair, that doesn't comprise *all* of the images in this set of cards. For example, the Spiritual Energy System is an arresting portrayal of the chakra system "sprouting jets of psycho gism". A European-looking Jesus makes an appearance, as does a thousand armed, eleven-headed Buddhist deity.
   
   "Is it just me?" I wondered. I appreciate that the human body is a magnificent machine--a vehicle for spirit to be appreciated--but I didn't feel particularly inspired. So I asked my husband, who enjoys some of Grey's art (especially Oversoul), to give me his impression of the Sacred Mirrors Cards. He expressed the same sentiments that I had felt, so it wasn't "just me" after all. We both agreed, however, that some of the poetry conveyed brilliant insights into the human body and its connection to the Infinite.
   
   So if you love Grey's art and vision--and books like Transfigurations--then you'll likely enjoy this unusual meditative offering.
   
   (To see 6 images from the Sacred Mirrors Cards, visit the Reviews--Decks section at JanetBoyer.com)

3 comments about The Image of Christ.

1. Morgan Weistling's "The Image of Christ" displays his paintings of Scripture, complete with the subjects' emotions. I've never seen anything like it. Vivid moods and moments snag the heart and hold on tight. Some bring tears; others must be put off for later, so powerful are their silent messages. My first impressions of one, for example:
   Jesus returns with the lost sheep draped across His shoulders, holding fast to his feet in case this wayward one decides he can make it home on his own. His simple smile shows relief and understanding, even for one so careless as to leave the flock in the first place. Love for all, yet love for each; care for the careless, and rest for the wanderer. The two are inseparable in Christ.
   If you've read this far, "The Image of Christ" belongs in your life and on your gift list!



2. Morgan Wistling's superlative paintings are flawlessly reproduced with each image enhanced by an accompanying passage of inspirational scripture and/or poetry. Simply browsing through his beautiful volume evokes a sense of peace, harmony, spiritual sensitivity and commitment. The Image Of Christ is further enhanced for the reader with an index of the poems and prose, and index of the poets and authors, and an index of the scriptural quotations. The Image Of Christ is a superlative work and very highly commended to all members of the Christian community of faith.



3. This illustrator has captured the essence of the intimate family life of Jesus and you become an observer of God most human and most divine. We rarely become engaged with the first steps of Jesus, the reality of who Mary was kissing as many of us have kissed our own children. Morgan Weistling places us there with God as a child and his work is truly a gift from above.

4 comments about Early Christian & Byzantine Art: A&I (Art and Ideas).

1. This is a frustrating book. Graphically, with its numerous vivid, full-color photographs, it is quite striking. Textually, though not poorly written, per se, it is bland. Moreover, even though surveys are seldom ground-breaking, Lowden's ideas strike me as ones that are not his own - he seems in thrall to reception theory. The area of Byzantine art about which he does seem to know more than most - illuminated manuscripts - gets more coverage than it probably deserves. (Then again, Lowden is described as an illuminated manuscript expert on the dust jacket of the book, so perhaps his indulgence is understandable.) In short, and despite its now unfashionable approach, David Talbot Rice's "Art of the Byzantine Era" still stands in my mind as a better-written and more enduring short survey of Byzantine and early Christian art. Lowden's work is much better graphically, but he lacks Rice's flair and ability to express his enthusiasm for his subject.



2. Like another reviewer, I also had this book for a course on Byzantine art. For the most part, Lowden's book is a "survey" in the fullest sense of the word: on average, he only spends a paragraph or two on a particular monument, focusing primarily on style and iconography for icon panels, mosaics, architecture, and "minor arts" (always a dilemma when writing a survey book--quantity of material versus level of depth in one's discussion). He also follows the traditional chronological framework of discussing Early Christian/Byzantine art: from the catacombs and the reign of Constantine, to the fall of Constantinople to the Ottoman Turks in 1453.
   Having said this, Lowden's book stands out among other surveys for many reasons. Although too numerous for the length of this review, among such strengths are his extensive discussions of Byzantine manuscripts (Lowden's area of scholarly interest), including a chapter on production and reception. He also devotes some attention to the factors surrounding the rise of Iconoclasm, and subsequent artistic production after the iconophiles had "triumphed" over this era of the destruction of figural imagery.
   Although a handful of other Byzantine art surveys have been published since Lowden's book (some good, some bad), I feel that this ranks within a small, high-quality group of studies on Byzantine art.



3. This book was one of my textbooks for a Byzantine art class in college. The pictures are beautifully reproduced and well-presented and the typeface is bold and easy on myopic eyes. The text may seem a bit bland to the well-educated byzantine scholar, but it was a great book for becoming acquainted with one of the richest periods in the history of art. Concisely written, Lowden's book provides the insight and joyful curiosity of an engaged scholar who obviously enjoyed writing the book. That said, I highly recommend this book.



4. This is a frustrating book. Graphically, with its numerous vivid, full-color photographs, it is quite striking. Textually, though not poorly written, per se, it is bland. Furthermore, though Lowden (mercifully) dispenses with jargon, he does pay lip service to one of the most recent academic trends in art history: reception theory. I really wish he wouldn't have. Even though surveys are seldom ground-breaking, Lowden's ideas particularly strike me as ones that are not his own. The only area of Byzantine art about which he does seem to know more than most - illuminated manuscripts - gets more coverage than it probably deserves. Then again, Lowden is described as an illuminated manuscript expert on the dust jacket of the book, so perhaps his indulgence is understandable. In short, David Talbot Rice's "Art of the Byzantine Era" still stands in my mind as a better-written and more enduring short survey of Byzantine and early Christian art. Lowden's work is much better graphically, but he lacks Rice's flair and ability to express his enthusiasm for his subject.

2 comments about Chinese Symbolism and Art Motifs: A Comprehensive Handbook on Symbolism in Chinese Art through the Ages.

1. While this is clearly a pioneer and classic work in its field, there are, today, newer works that surpass this volume, first published 67 years ago, without many updates throughout its many reprints, in its usefulness. For example, the author includes literary references as well as art references (in other words, linguistic references that one does not see in art), so it is sometimes difficult to know if a particular object has different meanings "literally" from "figuratively". Additionally, the index is way too cursory, so there have been times when it has been extremely difficult to re-find something that one knows one has seen or read in the volume. A third shortfall is the use of line drawings as opposed to real photographs. There is a reason why we have the saying, "A picture is worth 1,000 words". Nevertheless, Williams was a ground-breaker in this area and this volume belongs in the library of anyone with a serious interest in the subject.



2. Now in its fourth edition, Chinese Symbolism And Art Motifs: A Comprehensive Handbook On Symbolism In Chinese Art Through The Ages is a straightforward survey of recurring symbols in Chinese artwork from ancient times to the modern day. Divided into entries devoted to each symbol ("dragon", "phoenix", "the eight immortals", "the five elements" and much more), which are in turn presented in alphabetical order, Chinese Symbolism And Art Motifs includes over 400 black-and-white illustrations and an index for quick and easy reference. The text succinctly surveys different uses of each symbol, and also presents the names for symbols and important historical or mythical Chinese figures in Chinese characters as well as in translation. An easy-to-use guidebook especially recommended for college libraries and students and scholars of Chinese art.

5 comments about The Essential Titus Burckhardt: Reflections on Sacred Art, Faiths, and Civilizations (The Perennial Philosophy).

1. Titus Burckhardt, whether fixing his attention on the proper philosophy, or the proper architecture, or the proper occultism, brings a liberal yet formiddable intelligence to whichever of these works he sets his hand to.
   Burckhardt, when laying out a sacred temple, would have it oriented north-south with one door leading in and one door leading out, ensuring it's earthly and squarely relationship to it's heavenly and circular origin. The language and ideas both sound archaic due to a radical loss of traditional forms and even degenerate customs to the point that what is old now sounds new. Burckhardt, I'm sure, would delight in such a circular manifestation of tradition. In a society where number has lost it's gender, where sacred art has lost it's object, and philosophy it's inner meaning, Burckhardt's plaintive sentences recall all of this and brings the perennial philosophy to bear in many of it's traditional manifestations. This philosophy, this perennialism is shown by virtue of man's loss of meaning when he attempts to abandon it, quite simply will not go away. Or will it?



2. Titus Burckhardt's brilliant works brings the reader virtually into the domain in which he is writing about. An anthology of the world's great religions and cultures. I read his book Fez City of Islam and was also very impressed. But this is vintage Burckhardt. This is top notch. Burckhardt's works contain a treasure chest full of info. on Morocco & the Moors. He was a Sufi so that explains his writting style, I might also purchase his book "Introduction to the Sufi Doctrine"



3. _Titus Burckhardt was one of the great expositors of the perennial philosophy, along with the Traditionalists Rene Guenon, Ananda Coomaraswamy, and Frithjof Schuon. It is obvious to me that he truly experienced what he wrote upon. To him Intellection was not an abstract metaphysical principle. This is the miracle of true contemplative thought in the modern age.
   
   _His emphasis tended more to the nature of what constitutes sacred art. That is why this volume is so well illustrated with both color plates, as well as, black and white images. His central message is that Tradition possesses a secret power that is communicated to an entire civilization; even in those arts and crafts whose objects include nothing particularly sacred. In a theocratic society, the humblest activity participates in heavenly benediction. In contrast, "sacred art" in the West since the Renaissance is essentially profane art with only a superficial religious theme.
   
   _There are some thick, but important, volumes that you find yourself despairing that you will ever get to the end of. However, this thick volume of the essential Burckhardt (like its sister volume on the essential Schuon) is such a joy to read that you never want it to come to an end. Unlike drier works, every page restores your soul instead of draining it.



4. Wisdom and tradition were the most important aspects of the writings of the distinguished Swiss art historian Titus Burckhardt.
   
   THIS BOOK PUTS AT THE DISPOSAL OF A WIDER PUBLIC SOME OF THE BEST OF BURCKHARDT'S ORIGINAL CONTRIBUTIONS TO THE PHILOSOPHY OF ART AND RELIGION.
   
   This wide ranging book offers to the reader much relevant work. It will delight both the student and the general reader.



5. "Burckhardt's thought (as expressed in The Essential Titus Burckhardt) is clear and soberingly articulated, his argumentation intuitive and profound"

No comments about Angels.