5 comments about A Brush With God: An Icon Workbook.

1. I love this book! I created the icon of St. Nicholas using the books instructions, and got positive feed back on it from my "extremely honest" family and friends. The materials required are readily available and the directions are clear. Most importantly, the spiritual experience during the process was incredible. I can't wait to do the other two icons in the book. However, I do believe you need to be confident in your artistic skills to be successful and avoid frustration. My only criticism is the lack of pictorial examples. I had to refer to another book to understand the difference between the Greek and Russian style.



2. A background about icon painting and projects to get you started.



3. This nice little volume gives enough background to get you started on both creating and appreciating icons. Whether you just want a deeper appreciation for the artistic aspects or a deeper appreciation of the spiritual disciplines associated with icons, this is wonderful place to start. It includes several colorful plates in the center to provide good examples or starting points for you own artistic exploration.
   
   The text is well written, concise, and clear. Chapters are arranged to first give you an appreciation of the spiritual connection icons can help fulfill. It is a brief introduction to a vast topic but one you will want to gain deeper understanding of their purpose. Then the author briefly describes some of the artistic nuances and differences in Russian, Greek, and Coptic styles that will give you more to ponder as an artist. With that brief overview of background information, the author then takes you through the technical aspects of creating several icons youself. The instructions are clear and step-by-step so they are easy to follow. Ultimately, practice will yield results. You will not likely create a priceless gem on your first try but the instructions are enough to give you a good start. And the more practice, the better you will be.
   
   There are several little tidbits of added information in the Appendixes for further study and appreciation. All of this in so few pages might seem impossible. However, this thin little book is loaded with a broad view that does not sacrifice too much in depth. It is a perfect introduction to the topic and very well done. The author clearly loves the topic and conveys that passion in an infectious manner. An enjoyable read even if you never pick up a brush. The understanding of the spiritual, artistic, and technical aspects will provide greater appreciation of this art form enriching your life with beauty.



4. I own this book but this book is not that good.
   The first thing I have to say is that the author is not Orthodox christian, but catholic of the latin rite born and former benedictine monk. The book suggest you to use Acrylic paint and say nothing about Egg Tempera! Well, if I am going to use acrylic paint, why hand painting? I would prefer an inkjet printer! If you have only this book then you will have to buy one about egg tempera.
   In page 11 he says that his first teacher recommended (just!!) abstinece from meat and alcohol but then he complete change the meaning of fasting.
   Say nothing about the use of Holy water and natural hair brushes, his brushes are acrylic as well.



5. I was pleased to receive the book in a timely manner, new, and exactly as I had expected it to be.

5 comments about The Book of Kells: An Illustrated Introduction to the Manuscript in Trinity College Dublin.

1. There is no lack of great vivid pictures to enjoy and the book is of high quality paper. The text is brief and has a nice flow. There really isn't much more I can say that other reviewers haven't already stated other than this is one of my favorite picture books :p
   
   If you enjoy celtic art or illuminated manuscripts this makes a fun addition to your library!



2. The Book of Kells is one of the most beautiful manuscripts in existence. This booklet enables those of us who are unlikely to ever see the real manuscript to feast our eyes on many of the illustrations as well as to learn a little of its history and preparation. Most of the illustrations are in colour and their vibrancy is still apparent across 12 centuries.
   
   I consider that this booklet is worth acquiring for the illustrations alone. It also contains a lot of useful information for those interested in the physical preparation of such manuscripts as well as the underlying historical significance of this particular manuscript.
   
   Highly recommended.
   
   Jennifer Cameron-Smith



3. The book was just what I was expecting. Shipping was quick.



4. I was glad I had this book along with me when I went to see the real Book of Kells at the Trinity College Library in Dublin. The lines of tourists waiting to view this famous eighth century manuscript were about a quarter of a mile long, and the museum proctors were really hustling us through the area where a small sampling of pages were actually on view.
   
   (If you take the tour, be sure to check out the main chamber of the Old Library with its first editions of Newton and Darwin, plus the harp that is (alas, falsely) attributed to Brian Boru, high king of Ireland).
   
   The first facsimile of the Book of Kells was published in 1974, and although this book only advertises itself as 'an illustrated introduction to the manuscript...' it contains good color plates of many of the most famous pages, e.g. the symbols of the four evangelists and the beginning of the 'Breves causae' of Matthew, among others.
   
   Author, Bernard Meehan, the current Keeper of Manuscripts at Trinity College states that "the sacred text itself was copied in the Book of Kells with a remarkable degree of inaccuracy." It consists of the Latin text of the Gospels, illuminated in the very ornate Hiberno-Saxon style ('Hiberno' refers to the Irish, or Hibernians).
   
   Legend has it that the Book of Kells was produced by St. Colum Cille on the island of Iona off western Scotland. Although it was probably begun in the Irish monastery on Iona, it was taken to the monastery of Kells in County Meath, after a series of Viking raids. The monastery on Iona was pillaged in 795, and again in 802. According to the author, "In 806, sixty-eight of the community were killed in another raid. The following year, the survivors migrated to Ireland and began to erect conventual buildings at Kells..." where the illumination of the manuscript was probably completed.
   
   If you are interested in the historical background of the Book of Kells, the author devotes a whole Appendix to it.
   
   Alas, according to this book's second Appendix, "Losses, Additions and Marginalia," the Book of Kells has not remained intact down through the centuries. "At present there are 340 folios, but around thirty folios, including some major decorated pages have been lost." The monks also used blank spaces in the manuscript to record details of property transactions in the late eleventh and twelfth centuries.
   
   Meehan's book is definitely worth viewing and reading. It also contains a wealth of the smaller decorative illustrations that do not always relate to the sacred text, e.g. hares, dogs, horses, and at least one moth. The color and minute details of these decorations are a source of endless fascination, and the scholarly text, although a trifle dry, is also very interesting.



5. I like how the author gives various images of the book of kells, but gets really confusing and goes all over the place while writing about it. I think a lot could be learned from this book, but the author crams so many examples into the work that it starts to get annoying. Ever line seems to have parenthesis around something and folio this or that. For that alone i give the book two stars, multiple examples are good, just not when you plague every line with one. It hardly gives the reader a chance to understand the first few.

4 comments about With Burning Hearts: A Meditation on the Eucharistic Life.

1. Henri Nouwen introduces a new and life-changing idea: living losses Eucharistically. He starts by acknowledging that life is full of "dark" and "agonizing" losses: "It is a world of endless losses, and many, if not most, of our fellow human beings walk with faces downcast on the surface of this planet." We go through life mourning...just like the two disciples walking to Emmaus, ruminating on their loss of Jesus.
   
   Nouwen says that must mourn for our losses. We must "shed tears over them and allow ourselves to grieve deeply," acknowledge "the painful truth of our brokenness," and "experience the abyss of our own life" where "everything is constantly shifting and changing." In doing this, we realize that we are not the only ones with losses: in fact, all of humanity is "moaning and groaning" with the pain of losses.
   
   Then Nouwen reveals that "there is a blessing hidden in our grief" - a gift is hidden in our tears. He says that suffering can actually lead us to gratitude. But what is the gift, and how do we recognize it? Nouwen says that "through mourning our losses we come to know life as a gift."
   
   We need to gain a contrite heart, by realizing that our losses are connected with evil, and that there is evil in our own hearts - and so, "we are willing to take responsibility, even for the pain we didn't cause directly: blaming is converted into an acknowledgment of our own role in human brokenness." We begin to cry: "Lord have mercy". We cry out for the "healing of our cynical hearts", and we "dare to believe" that there may be a gift hidden in our pain.
   
   We come to the Eucharistic celebration. We meet Jesus in the sacred Scriptures, though which he speaks to us. And we realize that we have a role to play in the salvation of the world: "The great temptation of our lives it to deny our role as chosen people and so allow ourselves to be trapped in the worries of our daily lives." Jesus makes our hearts burn. He encourages us to "let go of our hardened hearts and become grateful." We learn that our losses were not an end, but a "necessary way to freedom" and a "suffering leading to glory."
   
   We receive the Eucharist, and enter into communion with Christ. "It is at that place of communion that we cry out: `God, my God, why have you abandoned me?` It is at that place, too, that our emptiness gives us the prayer: `Father, into your hands I commend my Spirit.'" Because, as Nouwen explains, "Communion with Jesus means becoming like him. With him we are nailed on the cross, with him we are laid in the tomb, with him we are raised up to accompany lost travelers on their journey." We no longer belong to the world that brings us so many losses, so much pain: "There we belong to Christ and Christ to us, and with Christ we belong to God."
   
   We are then called to bring the good news to others - we have a mission. We must learn to listen to their losses, and then to tell them: "Didn't you know that what you are complaining about can also be lived as a way to something new? Maybe it is impossible to change what has happened to you, but you are still free to choose how to live it." We can lead them "from despair to hope, and from bitterness to gratitude...breaking through the boundaries of death." There is a light that shines in the darkness.
   
   This very basic summary, leaving much out, only scratches the surface. Nouwen proposes a truly radical and profound way of living life with joy and gratitude rather than resentment, anger, bitterness and disillusionment. What Nouwen proposes takes much thought and much effort, and it is not necessarily immediately easy to understand. But for those who want to try, his book offers a way out of pain and suffering through the only means that can truly liberate us: Christ.



2. Enjoyed the graphics and the book was a quick read. It had good insights!



3. Recently I heard a priest from Opus Dei state that Henri Nouwen's books are not spiritual writing, that all of Nouwen's books are about Nouwen. After finishing this volume I would have to disagree lately, but not completely, this book like many of Nouwen's draws from Henri's personal experience, but all writers write from the lense that filters all we see and do. How could our life experience not affect how we see the world.
   
   Nouwen states in the introduction: "Every day I celebrate the Eucharist. Sometimes in my parish church with hundreds of people present, sometimes in the Daybreak chapel with members of my community, sometimes in my father's living room with just him and me. Very few days pass without my saying, `Lord, have Mercy,' without the daily readings and a few reflections." p.9 The rest of the book is a series of reflections on the Christian life through the filter of the Eucharist and through the eyes of the two disciples on the road to Emmaus. The five sections in the book are:
   
   1. Mourning Our Losses: "Lord Have Mercy"
   
   2. Discerning the Presence: "This is the Word of God"
   
   3. Inviting the Stranger: "I Believe"
   
   4. Entering into Communion: "Take and Eat"
   
   5. Going on a Mission: "Go and Tell"
   
   Each section draws us into a deeper understanding of our life, and our life as a people of the word and of the Eucharist.
   
   The first section focuses on loss, our loss of what we believe in, what we hope for and what we sometimes dream of. After loss the disciples questioned their following Jesus, and if we are honest sometimes we doubt as well. "We remember the time that Jesus was so real for us that we had no question about his presence in our lives. He was our most intimate friend our counselor and guide. He gave us comfort, courage, and confidence. We could feel him, yes, taste and touch him. And now? We no longer think of him very much, we no longer desire to spend long hours in his presence. We no longer have that special feeling about him." p. 27,28. through the losses we have in our life we have come to have periods of doubt and struggle with our faith, we come bruised and broken by this world. "We come to the Eucharist with hearts broken by many losses, our own as well as those of the world." p. 31 but Nouwen goes on to give us hope, our hearts are broken and we experience loss so that we can also be healed and restored, so that through the Eucharist we can receive the water of God's grace.
   
   After we have a renewed hope and have begun healing we must discern the presence of God in our lives. He declares "We cannot live without words that come from God, words to pull us out of our sadness and lift us up to a place from where we can discover what we are truly living." p.51 In this section we are reminded that God's words give life, we are nourished by them, challenged, encouraged and admonished. "Without the word, our life has little meaning." p.60 As Catholics as Christians how could we not live immersed in the Word, in the guidebook God has given to us.
   
   Inviting the Stranger, "Interesting, stimulating, and inspiring as all these strangers may be, when I do not invite them into my home, nothing truly happens." p.69 Jesus stated that he stands at the door and knocks, the question is do we invite him in? Do we want him to permeate our whole life? Do we want to have Jesus be a part of our everyday life? This section asks many good questions that if we are honest will challenge us.
   
   Communion is central to the Catholic faith. It is what unites Catholics around the world, we are a people who share a common table, and Nouwen focuses on what that means to us. "We can't really live without bread that is taken, blessed and broken, and given. Without it there is no fellowship, no community, no bond of friendship, no peace, no love, no hope. Yet, with it, all can become new!" p.80,91 Later he states: "God desires communion; a unity that is vital and alive, an intimacy that comes from both sides, a bond that is truly mutual. Nothing forced or `willed,' but a communion freely offered and received. God goes all the way to make communion possible." p.87 Through the Eucharist we can have communion with God and through that communion with each other.
   
   Finally our life as people of the word and of the table we are given a mission. Nouwen tells us "It is not just the Eucharist, but the Eucharistic life that makes the difference." p.106 Through those two things we are prepared and called to mission, the mission to live as Catholics, as people who make a positive difference in the lives of those we impact and those who cross our path. "We have a mission to fulfill and it is good that we are excited about it, but first we have to listen to what others have to say. Then our stories can be told and bring joy." p.109 Nouwen also sows us a vision of what that life would look like: "In the Eucharist we are asked to leave the table and go to our friends to discover with them that Jesus is truly alive and calls us together to become a new people - a people of the resurrection." p.110
   
   The meditations and reflections in this book, will draw you closer to the Lord's supper, and through that to the people in your life. It is beautifully illustrated with artwork by Duccio Di Buoninsegna, the combination of words and pictures will feed your soul and challenge your mind.



4. Henri Nouwen explains the Lord's Supper in the context of the two disciples' walk with Jesus down the road to Emmaus at the end of Luke's gospel. He sees five interrelating movements in the celebration of the Lord's Supper, each movement corresponding to an event along the disciples' walk. This is a meditation, not a theological treatise, so the soul and the mind share the road. Nouwen's meditations are challenging and joyous, and this is one of the best I've read. Going on any trip with Henri Nouwen brings joy, whether it's into a painting ("Return of the Prodigal Son"), into the desert ("Way of the Heart"), across a calendar ("Bread for the Journey"), or into his own anguish ("Inner Voice of Love"). I was so taken with Nouwen challenge to a "eucharistic life" in this book that I have celebrated the Lord's Supper by myself several times.

5 comments about The Mystical Language Of Icons.

1. Excellent explanations of the symbolic meanings withen icons. I liked it.
   Marguerite Culhane
   Eagle River AK



2. An excellent book for those interested in iconography.Set at a level for both the experianced writer, who wants to refresh their knowledge and yet also for the novice who would like to investigate this area.The explanations of the icons are wonderful,while the prayers from the eastern orthodox church illustrate the deep comtemplative spirit of this media.



3. Wonderful book. One those you can't put down. Great art. And i hope he does more on the subject. Just a great book. A+



4. I read "The Language of Icons" with the intention of learning more about the mode of religious art most characteristic of Eastern Christianity. The book far exceeded my expectations. I learned more about icons than I ever would have hoped. The reproductions of representative icons were beautiful and luminous. Moreover, the text was deeply spiritual and inspiring. The reader is drawn to meditate on the Christian message that the icons symbolize. There are books that are informative and books that are inspiring. This book manages to be both.



5. A beautiful and helpful book. I'm glad I bought it. It is not a primer, but rather a middle school book.

5 comments about A Handbook of Tibetan Buddhist Symbols.

1. Tibetan Buddhist symbolism is extremely complex,yet in this volume artist/Buddhist Robert Beer makes it accessible and understandable. Beer divides the symbolism into identifiable categories such as "Eight Auspicious Symbols","Five Attributes of Sensory Enjoyment","Cosmological Symbols","Main Ritual and Tantric Implements" and "Wrathful Attributes and Offerings." It's a user-friendly handbook.
   
   Beer sheds light on more obscure symbolism-such as the khatvanga (tantric staff),the magical weapons of Shri Devi (the Great Goddess),and the gzi stone. He explains it within the framework of Tibetan Buddhist philosophy and practice.
   
   To his credit,Beer doesn't gloss over the more gruesome aspects of Tibetan Buddhism. He explains why wrathful deities are depicted wearing garlands made of skulls and severed heads,or holding intestines in their hands. For some, the wrathful deities are seen as a way of sublimating violent tendencies,while others see them as worshipping ugliness. Beer leaves it to the reader to judge.
   
   "A Handbook of Tibetan Buddhist Symbols" is a perfect guidebook to Tibetan Buddhism. It's written for the layman,the newbie,and is engrossing reading.



2. Recieved the order promptly and in the condition promised. Excellent companion to The Encyclepedia of Tibetan Symbols and Motifs by the same author.



3. the book was very well put together and has alot of useful info on buddhist art.



4. This volume took Robert Beer more than 10 years to complete, and one understands why. As far as I know it is the only book on the subject with such superbly crafted illustrations, each meticulously drawn in pencil-thin, lucid detail. There are a huge number of these drawings, and the well-structured text is informative, thorough and scholarly, without being dry. It is an eminent work of very high quality and a joy to read for any Buddhist practitioner, art lover, or just for curiosity. It is surely a classic reference volume. Modesty must have compelled the author and editors to give it the diminutive title 'a handbook' - it is indeed much more. Read it an enjoy.



5. The Handbook Of Tibetan Buddhist Symbols by Robert Beer (who has studied and practice Tibetan thanga painting for more than thirty years) is a straightforward reference guide to the meaningful symbolism of sacred Tibetan art. Black-and-white illustrations depict all the major Buddhist symbols and motifs, while the text offers depth and interpretation behind the meaning and usage of each. The Handbook Of Tibetan Buddhist Symbols is enthusiastically recommended for inclusion into Buddhist Studies and especially informative for connoisseurs of Tibetan art.

5 comments about Simple Blessings: 14 Quilts to Grace Your Home.

1. Simple Blessings: 14 Quilts to Grace Your Home
   For anyone who loves pieced and appliqued quilts, in glorious fabrics, this is the book for them. There are 14 quilts to make, and I want to make all of them!
   
   The photography is stunning and gives one all sorts of ideas on how to display quilts, colours to use. And there is an article on Fabric Selection and Preparation and another on Patchwork Principles. This article covers everything from beginning to end, even how to press seams and pressing triangle units.
   
   Then there is Completing the Quilt Top; followed by Finishing Techniques. Of particular interest to me is Kim's method of Machine Applique.
   
   And then it is on to the stunning quilts. I am gathering my fabric and just about to start my first project and it is called Cobblestones and Cartwheels Lap Quilt - 72 1/2" x 72 1/2". Can't wait to get started!



2. I enjoyed this book trememdously, I also have Kim Diehl's book, Simple Traditions, as she is a fabulous quilter and author. I highly recommend her books to anyone who loves the warmth of home,quilting and decorating.



3. Kim Diehl always produces wonderful patterns with colors for every desire. Her patterns are always precise.



4. I love this book! The combination of applique and simple piecing offers the quilter warm,colorful projects to follow. I made one of the wall hangings in my own colors,and intend to make more.Kim Diehl's projects are so doable.The templet patterns are full size-no enlarging! The directions are clear and easy to understand.If you like a country flavor to your quilts,you must buy this book!



5. Every project in this book is to die for. If you like traditional, warm, country, reproduction style quilts this is a must buy.

5 comments about Images of Hope: Meditations on Major Feasts.

1. This book is a collection of short reflections for major feasts throughout the Church's calendar. In each of them the Pope (then Cardinal Ratzinger), highlights a theme or two in order to draw the deeper significance of the feast into greater focus. He provides theological, and historical background, and rich mediations on how these holy days impact the lives of each believer. These reflections are easy to read but they are profound in what they draw forth. This book certainly provides an impetus for a fresh look at many days like Christmas or Easter which are rich in their spiritual treasures, but which may have become commonplace in our eyes because the world has run amok with them.



2. This is really a very beautiful and elegant work. His observations and understanding of these Christian images and symbols is so moving that I was often overwhelmed with good feelings. Wonderful!
   
   -Jeremy



3. This is a series of reflections that can each be read in a brief sitting, yet each conveys the remarkable breadth of knowledge and depth of understanding that Pope Benedict has developed. His writing is perhaps the most concise among modern theologians.



4. Pope Benedict's longer theological works can be difficult to follow, not because the Pope is trying to be obscure but because he deals with realities (not opinions or moods) and never patronizes the reader. Images of Hope is more accessible because it is a collection of short essays, moving and even entertaining meditations on the Feasts of the Church. A great little book for the thinking Christian.



5. These thirteen short talks originated as occasional broadcasts on Bavarian Radio when the then-Cardinal Ratzinger offered meditations on the major feasts of the Church usually with reference to some work of art. About half had been published separately, and the book, first issued 9 years ago, has been translated and reissued following his election as Pope. Ratzinger is scholarly in his approach and sources, but offers his general audience a message that is both simple and profound. That will not surprise those who have listened to his recent talks. His reflections are mostly prompted and illustrated by images--artistic, poetic or symbolic--to touch the senses and heart as well as the mind. Developing the images and ideas with poetic fancy, professorial depth and patristic playfulness, he invites us to go beyond the merely aesthetic to the level of faith.
   
   While the themes are random because of the disparate occasions on which the talks were given, there is an inner harmony among them, and since all sacred images are images of the resurrection, the harmony involves hope and resurrection joy. The art is often an illustration of the material rather than its source, and hence is not in general as essential to the presentation as it is, for example, in the Archbishop of Canterbury's Ponder These Things or Henri Nouwen's Behold the Beauty of the Lord. But Ratzinger's historical facts and theological insights are striking, and those dealing with Rome and the papacy all the more interesting in view of his later election to the see of Rome. Beyond this the text opens the riches of the Christian faith in a learned but very personable way. It's a quick read, and would repay a prayerful rereading of each chapter on its corresponding feast.

5 comments about What We Ache For: Creativity and the Unfolding of Your Soul.

1. I didn't know when I began reading What We Ache For that it included writing suggestions. But, in hindsight, writing is the major form of creativity in which Mountain Dreamer expresses herself. Her definition of creative work is, "that [which] makes something new from the paradoxical combination of a focused intent and a willing surrender to something larger than us." She writes of opening herself up to unexpected twists and turns within her [and anyone else's] creative endeavors.
   
   Each of her chapters ends with two sections: one is "For Contemplation," and the other is, "Writing Exercises," both of which are meant to help the reader go deeper into his or her search for creativity. She asks her reader to substitute the reader's form of creativity for her word "write."
   
   In her Beginnings chapter, Mountain Dreamer suggests that if what you are doing bores you, then, stop and begin again. One prompt which I will try is that of taking a sentence or phrase from a book and spending seven to ten minutes expanding upon it. Or doing the same thing with a picture. She uses three components of daily practice when she begins her writing time: a time of contemplation, a time of physical movement and some journal writing to integrate her spirit, her body and her mind. These become rituals which signal the unconscious that the time of creating is to begin.
   
   She writes, "If our creative work helps us to be with what is in this moment with a compassionate heart and willing acceptance of what we cannot control, if it enables us to open to the joy of being alive, to seeing and co-creating the meaning that sustains us, these are the things that will ripple out into the world from us whether or not anyone ever reads the words or music we have written or sees the painting or play or film we have created." To be creative is personal. It is to grow and become more expansive.
   
   Mountain Dreamer endorses creative activities with a group such as a Story Circle Writing Circle and she also encourages timed activities which create a container for our art. Other suggestions are that each meeting of the group start and end with a small ceremony or ritual.
   
   The chapter, A Necessary Silence, stresses the importance of solitary time. She says, "To create in any form, we have to be willing to engage our intent and then let go and allow this grace, this flow, this unpredictable and sometimes chaotic energy that is both what we are and yet larger than us, to direct the process." We must risk failure. There is never a guarantee that others will see and feel as we do and will appreciate it enough to publish it, buy it or spend money for tickets to see it.
   
   The last segment of the book describes her own process as she begins a writing project including ignoring the inevitable voices of the inner critic. She writes of her life as an artist as an example for others, and of building a community of support. To keep one's creative work totally for oneself, she says, leaves the process of creation incomplete. I wonder about that. There are examples of poets, for instance, whose work was discovered only after their deaths. Were they not creative? Finally, she writes, "I am drawn to the creative process not because I think the creative process will bring me happiness, but because when I write I am happy."
   
   What We Ache For is not a memoir; however, Oriah Mountain Dreamer invites us deep into her psyche and her process. It could be used as a tool for enhancing one's writing. It is also be a portrait of an artist. What We Ache For conveys deep feeling and an invitation for us to experience those feelings ourselves.
   
   by Judith Helburn
   for StorycircleBookReviews
   www.storycirclebookreviews.org
   reviewing books by, for, and about women



2. This book is a fantastic journey through the creative process. Living a creative life is the kind of thing so many people idealize, but here we are presented with the reality, the fears, the risks, the vulnerabilities, all the harsh things artists of all sorts will put themselves through repeatedly in order to live a creative life, not because it's what they want to do but because they are compelled. If you can look at the title, "What We Ache For", and feel that sharp tug in your heart, if you know what it is to ache for creative expression, then you will find comfort, camaraderie and plenty of invaluable tips for living a creative life within these pages. This book is pure, blazing-bright inspiration to me, and I'm forever grateful to it's author for sharing her thoughts and experiences.



3. One of the problems for an artist who wants to develop his or her creativity is knowing what creativity is. Some hope to lure a bolt from the blue that will change their view of the world. What they are probably looking for is inspiration.
   
   Most of the books on creativity don't even notice the difference between creativity and inspiration. Add to that that many of the creativity books seem to believe that artists are not creative because of psychological hang-ups and you begin to see the problems an artist may have in working on creativity.
   
   Oriah Mountain Dreamer is a writer who also has spent time as a facilitator and workshop instructor. I was a little reluctant to read this book because the title sounded so mystical. Well, the book is a bit mystical because the author believes in the strong connections between our sexuality, spirituality and creativity. But, surprisingly to me, the book is filled with practical information to help artists explore their creativity.
   
   To the author creativity is finding the way to look at what we know from a new direction or without our preconceived notions. Or to quote a wonderful expression that overuse has turned trite, "thinking outside the box." It means trying to expand the way we see the world, by exploring our experiences at a deeper level, or even more playfully. For example she describes seeing a sign saying "Angels Flight Railway" and wondering where angels would flee and what they would be fleeing from. The author doesn't give us a key to a door in our mind but suggests that we may be able to find a lever.
   
   The book is full of good practical advice, like telling the artist to find a special place to do his or her work, or learning to put aside time that is unscheduled. Some of these elements seem obvious but for me it was useful to hear her suggestions.
   
   Each chapter includes exercises to do. The reader may shy away from them, but they are worth trying. Thinking about which year of your life you would wipe out and why and what the effects would be can provide you with an insight into yourself that can help you shape your art.
   
   This is not a great book, but it is full of useful, practical advice. The artist in search of improved creativity will benefit from reading it.



4. As someone who is lucky enough to make my creative work my life's work, I was very interested to see what this book had to say. The concept of being true to one's creative process is important to me and I liked the idea of this book, but the execution was somewhat lacking. The narrative was interesting, but often I had a hard time connecting with her experiences and translating them to my life. The exercises at the end of each chapter, however, were very useful and thought-provoking. A good book to help restart or rejuvenate anyone's creative process, and an interesting way to look at what creativity means in a person's life.



5. In her latest book, the author of "The Invitation" encourages readers - no matter their form of creativity - to look deep into themselves to do what they ache to really accomplish. She proposes by searching our soul, our creativity improves, freeing us.
   
   Each chapter shows the reader how Oriah came to these things herself. At the end there are three types of exercises. There is thinking, how, and doing. Some of these I have seen in other books on writing, but the author acknowledges each of us has our own path to unfolding our souls. By doing so, we are able to delve deep within, create, and share.
   
   I really would have loved to give this book the top rating, but I couldn't. To be honest, I felt the author spent too much time discussing her own journey into searching for what she aches for rather than concentrating on helping the reader discover their own way. As a reader if you are wanting a spiritual book on how creative work unfolds the soul - as the title implies - you may wish to look elsewhere. On the other hand, if you are looking for ways to think and work on your creativity to accomplish goals, this might be the book for you and I recommend it highly.

5 comments about The Book of Exodus.

1. Speechless. Words cannot describe this book. When you hold it in your hands and look through it you should be overwhelmed with it. Sam fink took 17 years to scribe and illustrate this masterpiece. He is going to go down in history as a legend in art. All 40 original illustrations should be framed and become a museum exhibit. I would pay big money to see this exhibit. Each print is absolutely breathtaking. Sam Fink is quickly becoming my FAVORITE artist. What an incredible gift.
   
   I discovered Sam Fink in reading his illustrated version of The Declaration of Independance. His illustrations are so amazing that for the first time in my life I actually understood The Declaration of Independance. He made the text come to life!
   
   Exodus is equally amazing, but completely different style. It is not comical cartoon style. It is exquisit watercolors of the sky. Each watercolor makes that chapter of Exodus come to life. He uses imagery within the sky to compliment the text.
   
   WOW! I want to buy a copy for all my family!



2. I first read a review of this coffee table book in New York Times and went on line to purchase it from Rizzoli. It was selling for list price of 40 plus dollars. I have purchased two from Amazon and given as gifts. The recipients were very pleased. It is a beautiful book depicting the story of Exodus, soft pastels for illustrations. Would highly recommend it for those interested in the old testament and this compelling rendition.



3. THIS IS AN ABSOLUTELY BEAUTIFUL BOOK AT A BARGAIN PRICE. THIS BOOK MAKES A WONDERFUL COFFEE TABLE BOOK OR A FANTASTIC GIFT. THE ARTWORK IS WONDERFUL AND I WOULD RECOMMEND IT TO ANYONE!



4. This is an amazing book. It far exceeded my expectations. I purchased it for the 6 year old daughter of a friend. The little girl is just beginning to read Hebrew. I know she will love the paintings and will eventually be able to read the text in both languages.



5. We all know the story of Exodus. Now to see it interperted in these amazing skys gives new meaning to each chapter.The caligraphy in both english and hebrew superimpsed on the sky is amazing. This is truly a work of love and art by the creator of this book. We have bought several copies and given them as gifts to friends and associates.Everyone who has seen this book at our home wants their own copy

No comments about The Zen Art Box.