2 comments about The Gothic Image: Religious Art in France of the Thirteenth Century (Icon Editions Series).

1. The Gothic Image captures through art and architecture the spirit and elan of the medieval renaissance in ways histories and biographies cannot. Unlike today, where contemporary art and architecture either may or may not mimic our age, the Gothic Image is an imprint of its time and place. Male leaves few artifacts unturned, and explores in so many different facets of the polysemy of its age. A must for every medievalist, and gem for artists, theologians, architects, and "builders" of meaning. This highly critical reviewer gives it full accolades, and recommends all interested parties to grab this reprint before it too fades from view!



2. I can think of no better introduction, as well as comprehensive review, of the medieval renaissance than this wonderful synthesis of medieval art and medieval sacramentalism, wherein the whole universe, from stellar constellations, to the gargoyle atop cathedral buttresses, comes alive in all its many dimensions. This book, long out of print, was the gem of my undergraduate work in medieval history, philosophy, art, and architecture. The price is a bit steep, but this one book can remain a perpetual resource for insight, understanding, and knowledge of a different time and place -- so foreign and alien to today's historicity, but that captures the imagination and never lets go.

3 comments about Architecture in Communion: Implementing the Second Vatican Council Through Liturgy and Architecture.

1. Steven Schloeder has written a book in which he attempts to capture what he describes as the 'true spirit of the Second Vatican Council' in architectural design for churches. Schloeder identifies difficulties in theology and liturgy that have, in his opinion, translated also in problem architecturally. With regard to modernism, he states, 'Many prominent Catholic thinkrs have not discerningly separated the wheat from the chaff and have accepted certain secondary issues as primary ones.' Among these are issues of the Eucharist being a sacrificial meal vs. a communal one, or the difference between the ministerial priesthood and the common priesthood of all being downplayed - these and others are issues that he discusses briefly in theological and historical terms, but quickly develops the way in which architecture shapes and is shaped by such ideas.
   
   Schloeder's vision for the book is set out in the introduction: 'Our goal is to enliven the parish community - which is the true Church built of living stones in Christ - with a material church building designed to serve and further the primary vocation to become a community of love, which must mean a people of sacrifice and redemption.' This is a constant theme throughout the entire text, always present in the spirit of the photographs, drawings, and essays.
   
   Even the structure of the book speaks of an underlying theological bent - three clusters of three chapters. The first three chapters explore issues of history, sociology, theology and liturgy with regard to the modern Catholic church building. The nature of the church is a primary consideration when considering what kind of design and structure its physical enclosure and manifestation should bear.
   
   The second cluster of three chapters look at particular architectural aspects. One chapter examines the needs of the santuary itself, another chapter more broadly at other services and sacramental needs, and the final chapter the wider considerations of the church family and its place in the community. In this later aspect, the church building can grow from being the domus ecclesiae (house church, or home of the church) to being a civitas dei (a city of God).
   
   The final three chapters look at artistic and aesthetic elements, particularly the icon; Schloeder strives to regain the iconographic aspect of the church in the community. The building itself can be a symbol and a work of art, and most certainly should be a sacramental space.
   
   Schloeder is honest about this book not being an answer book - to many of the issues he explores, he has no concrete answers to offer, but rather serves to highlight particular issues for consideration. Indeed, in the creativity of modern architecture, there are often multiple solutions to the same problems.
   
   This book has hundreds of photographs, examples of architecture modern, medieval and ancient, works of art, and outside symbols and examples. It is rather fun, for example, to see a picture of the British House of Commons chamber as an example of similar types of church architecture, then to know that the British HoC is modeled on the older structure in which the Members met in the choir stalls of a chapel.
   
   The writing is crisp and flowing, and fits very well its topic and the surrounding images. This is a good book for all those interested in architecture, church design, liturgy, and the intersection of theology with material arts.



2. ARCHITECTURE IN COMMUNION gave an excellent insight into the challenges and crises that Catholic church art has faced since the Second Vatican Council. Mr. Schloeder really understands the anguish that many traditional church artisans faced following the aftermath of the Council--when confusion seemed to leave traditional Catholic church arts at a crossroads.



3. "Architecture in Communion" is a detailed, yet highly approachable, weaving of theology, liturgy, architectural history, and iconography. Schloeder's vision for a restoration of beauty and meaning in Catholic church design is both original and solidly rooted in the traditions of the faith.

   His central premise is that Catholic church architecture is essentially "sacramental", that is to say, the material building is meant to be an icon or an image of the spiritual reality of the Church. Drawing upon sources from Scripture, the Church Fathers, architectural history, conciliar documents, canon law, and the Catechism, Schloeder shows us the symbolical language that has traditionally underpinned Catholic church design, and examines each part of the church (nave, sanctuary, altar, ambo, baptistery, etc.) with respect to its function, traditional form, symbolic meaning, and canonical status.

   The book is very nicely illustrated with over 300 photos and illustrations.

No comments about The Christmas Creche: Treasure of Faith, Art, and Theater.

No comments about In Pursuit Of Heavenly Harmony: Paintings And Calligraphy By Bada Shanren From The Estate Of Wang Fangyu And Sum Wai.

1 comments about At the Name of Jesus: The Way, the Truth, the Life.

1. What an amazingly beautiful book! The pictures are so full, you see different things, and see them differently each time you look. Both the artist's comments and the accompaning prayers are thought provoking, holy and inspiring. Surely a book to pick up, scan, read, relish over and over.

2 comments about The Art of the Icon (Art Of...).

1. This is not a thick book, just 96 pages. It is mainly a collection of photographs of Orthodox church icons, with explanations on the history and techniques of painting. The printing is of very high quality. Its original price is 14.99 British Pounds. But because of the subject matter, it is rarely read. I found it in a corner of the Book Fair selling at HK$20. Strangely, the cover photo is flipped. I do not know if it was a mistake or was intentional so that Mary looked to the East.
   
   Icons are mainly found in Orthodox churches in Eastern Europe. I found their architecture and the paintings inside fascinating as they reflected the creativity and ability of men. Icons are paintings of traditional religious figures dating back to the earliest days of formalized Christianity. Being more than symbols of faith and objects of worship, they are an art form in European civilization.
   
   According to Exodus, Moses came down from Mount Sinai and brought back the Ten Commandments. The second commandment was "You shall not make for yourself an idol, whether in the form of anything that is in heaven above, or that is on the earth beneath, or that is in the water under the earth." Thus in Judaism, and also in Islam, worship of idol in any form, including god and holy figures, was forbidden. This tradition remains the same today.
   
   The early Christians adopted many practices of worship from the Egyptians, Greeks and Romans where the worship of idols was widespread. Thus Christian icons appeared in the early years of the religion. The Christian version of the Ten Commandments merged the text on forbidding idol worship in Exodus into the first commandment. In the early centuries AD, icons were said to have magical power of winning wars, healing diseases and many other miraculous properties. Those were the days of iconodules: the icon worshippers. However, believers in the older tradition of an invisible god condemned this as idolatry. They became the iconoclasts: the breakers of icons.
   
   In the sixth century, Emperor Leo III of the Byzantine Empire ordered that all icons be removed from churches. His son Constantine V stepped up the crusade against the iconodules and banned the manufacture, possession and worship of icons. The war between iconodules and iconoclasts lasted until the ninth century when Theodora resumed the worship of icons. During this period, most of the icons were destroyed, except a few kept secretly at the Monastery of St Catherine at Mount Sinai, which was known as the sanctuary of icons,
   
   The golden age of Byzantine icon making started when Emperor Constantine established the East Roman Empire and made Christianity the official religion of the empire in the fourth century. However, owing to the destruction by the iconoclasts from the sixth to the ninth century, very little is known about the early work except a few salvaged.
   
   After Theodora's effort in re-establishing the icon as an object of veneration in the ninth century, there came the second golden age of the Byzantine art, also known as the Macedonian Renaissance.
   
   Before the twelfth century, the production of the finest icons was in Constantinople. By the time the empire fell in the fifteenth century, the art had spread west to Greece, the Balkan and Italy. Many locations in eastern Europe developed the art form with their own unique cultural influence.
   
   Prince Vladimir of Kiev, ruler of Russia, lived as a pagan in his early years. In the late tenth century, he sent scouts to find a religion. He was first drawn to Islam but did not convert because Islam banned alcohol. He also rejected the church of Rome because he feared subjugation by the pope. In 988 AD, Vladimir was baptized into the Orthodox faith. He then enforced baptism of all his subjects in the Dnieper River. Thus started an era of icon worship brought from Constantinople to Russia. By the twelfth century, Russian schools were developing their own style of icon painting with clear and bright colouring.
   
   http://raympoon.blogspot.com/2008/01/art-of-icon.html



2. I bought this book for the glorious photographs. I was delighted to find informative accompanying text which supplemented rather than overwhelmed the icons. The bibliography provides promise for a greater exploration of the topic in the future.
   
   For those with more detailed knowledge of religious art, I suspect there will be little new in this book. For those of us who marvel at the beauty of icons but don't understand the traditions, this book could provide a useful starting point.
   
   I bought it on impulse but I am keeping both for the intrinsic beauty of the contents as well as for the promise of new learning.
   
   Recommended for those who see beauty in religious art.
   
   Jennifer Cameron-Smith

1 comments about Short Skits for Youth Ministry.

1. I found this book to be very excellent. The youth in my department loved the skits and found it very entertaining when it came to the adults. Thanks for writing this book.

No comments about Transfiguraciones (Spanish Edition).

No comments about The Visual and the Visionary: Art and Female Spirituality in Late Medieval Germany.

1 comments about The Lion and the Land of Narnia: Our Adventures in Aslan's World.

1. 
   
   Reviewed by Debra Gaynor for ReviewYourBook.com, 5/08
   C. S. Lewis's world of Narnia will long live in my heart. His portrait of Aslan (JesusChrist) is stunning and heart rendering. The Lion and The Land of Narnia is a tribute to beautiful story. Robert Cording's paintings are magnificent. He captures the true essence Narnia, especially of Aslan.
   Accompanying the art work are letters and essays about the original story. My favorite parts were the letters from children to C. S. Lewis and his answers, he seemed to enjoy their letters. When I first picked up this book, I expected a children's story. This is not necessarily a children's book. While they would enjoy the pictures, this book is for fans of C.S. Lewis and his works. The Lion and The Land of Narnia will make a great addition to your home library or as a gift.