The Dictionary of Christian Art, now rebranded in the best-selling Oxford Paperback Reference series, is a unique and fascinating exploration of the art and architecture that has been influenced and inspired by biblical stories and Christian history and beliefs. The Dictionary combines general essays on the periods and styles important in the history of Christian art with lots of shorter entries that describe specific works, artists, themes, and visual images, and which give the reader practical guidance on where in Europe to locate the works described. Among the many features of this dictionary are: detailed essays on periods and styles in art and architecture, including Byzantine, Renaissance, Baroque; general background to the Old and New Testaments, and to Christian tradition and beliefs; forms of art influenced by Christianity, such as illuminated manuscripts, stained glass; artists and architects and their works, for example Fra Angelico, Donatello, Pugin, and many others; and places and buildings, including Assisi, Roma, St Paul’s, the Sistine Chapel. There are also descriptions and explanations of features of Christian churches, significant saints, popes, saints, and rulers, and a glossary of Architectural Terms and detailed bibliography.

This revisionist study challenges the received opinion that in its earliest manifestations Christianity was a form of religiosity opposed both on principle and in fact to the use of pictures. Paul Corby Finney argues that the well-known absence of Christian pictures before A.D. 200 is due to a complex interplay of social, economic, and political factors, and is not, as is commonly assumed, a result of an anti-image ideology. The book documents the origins of Christian art based on some of the oldest surviving Christian archaeological evidence, and it seeks to show how the Christian products conformed to the already-existing pagan types and models. This study will interest scholars and students in the fields of church history, ancient history, archaeology, art history, classics, and historical theology.

“Aesthetics” and “theological aesthetics” usually imply a focus on questions about the arts and how faith or religion relates to the arts: only the final pages of this work take up that problem. The central theme of the book is beauty. The author employs a new typology of western texts on beauty and a theological analysis of the image of God and redemption to counter the centuries-long tendency to ignore or marginalize beauty and the aesthetic as part of the life of faith. Studying the interpretation of beauty in ancient Greece, 18th-century England, the work of Jonathan Edwards, and 19th- and 20th-century philosophies of human self-transcendence, the author explores whether Christian existence, the life of faith, and the ethical exlude or require an aesthetic dimension in the sense of beauty.

Although the arts have played a significant role in both world history and Christian history, the contemporary church has often shunned them in favor of a more intellectual approach to theology. Beholding the Glory argues the necessity of renewing an engagement between theology and the arts. Specifically focusing on the incarnation, the book shows how the arts have an indispensable role to play in disclosing God’s wisdom. With an introduction by the editor, the book consists of eight essays written by practicing artists (a sculptor, poet, dancer, and musician), theologians, and professors-all well-versed in the relationship between imagination and theology. Beholding the Glory demonstrates the indispensable role the arts play in disclosing God’s wisdom to us. Writing from different Christian traditions, practicing artists, theologians, and professors-all well-versed in the relationship between imagination and theology-focus on the incarnation and draw out a wealth of meaning in the belief that God entered our world as one of us.

While interest in the relationship between theology and the arts is on the rise, there are very few resources for students and teachers, let alone a comprehensive text on the subject. This book fills that lacuna by providing an anthology of readings on theological aesthetics drawn from the first century to the present. A superb sourcebook, “Theological Aesthetics” brings together original texts that are relevant and timely to scholars today. Editor Gesa Elsbeth Thiessen has taken a careful, inclusive approach to the book, including articles and extracts that are diverse and ecumenical as well as representative of gender and ethnicity. The book is organized chronologically, and each historical period begins with commentary by Thiessen that sets the selections in context. These engaging readings range broadly over themes at the intersection of religion and the arts, including beauty and revelation, the vision of God, artistic and divine creation, God as artist, images of God, the interplay of the senses and the intellect, human imagination, mystical writings, meanings of signs and symbols, worship, liturgy, doxology, the relationship of word and image, icons and iconoclasm, the role of the arts in twentieth-century theology, and much more.

Recounting the biblical stories through visual images was the most prestigious form of commission for a Renaissance artist. In this book, Jules Lubbock examines some of the most famous of these pictorial narratives by artists of the caliber of Giovanni Pisano, Duccio, Giotto, Ghiberti, Brunelleschi, Donatello and Masaccio. He explains how these artists portrayed the major biblical events, such as: the Sacrifice of Isaac, the Annunciation, the Feast of Herod and the Trial and Passion of Jesus, so as to be easily recognizable and, at the same time, to capture our attention and imagination for long enough to enable us to search for deeper meanings. He provides evidence showing that the Church favoured the production of images that lent themselves to being read and interpreted in this way, and he describes the works themselves to demonstrate how the pleasurable activity of deciphering these meanings can work in practice. This fascinating book is richly illustrated, and many of it’s photographs have been specially taken to show how the paintings and relief sculptures appear in the settings, for which they were originally designed. Seen from these viewpoints, they become more readily intelligible. Likewise, the starting point and the originality of Lubbock’s interpretations lies in his accepting that these works of art were primarily designed to help people to reflect upon the ethical and religious significance of the biblical stories. The early Renaissance artists developed their highly innovative techniques to further these objectives, not as ends in themselves. Thus, the book aims to appeal to students, scholars and the general public, who are interested in Renaissance art and to those with a religious interest in biblical imagery.

Perhaps you’re a “closet writer” who’s been scribbling in journals for years. Maybe you once had a passion for playing the piano or violin — a passion that is still flickering somewhere deep inside you. You may have a knack for photography, drawing, gardening, cooking, or some other creative gift. Or you may long to express yourself creatively, but have yet to discover your unique talents. Your creativity was meant be used. Whether you are an artist who has already identified your gifts or you believe that you have artistic talent that has never been developed, working through this book will help you grow closer to becoming the person God has designed you to be. “Chapter-by-chapter, with thought-provoking words and exercises, Janice lifts the veil that blinds our thoughts towards our gifts. Most of us will be able to see ourselves somewhere within the pages of this book. We will then have the chance to overcome the lies that have kept us from believing that we can enjoy the wonderment of creating with the talent we possess.” ~ from the foreword by Thomas Blackshear

The goal of this book is to provide a deeper discussion of what a believer practicing their discipline for God’s glory would (or should) look like. Rather than a defense of the believer’s place in the
arts — which has been done very well in other works — this book is intended to be primarily about art MAKING. The premise of this work is that a Christian looks at the world differently than the non-christian due to a restored relationship with the Creator. Imagine a christian sitting down to create a piece of pottery, write a novel or paint a picture. This believer has decisions to make: color, form, content, theme… as well as where they fit into their church and larger community. Of course this book can’t dictate things such as, “Paint a red bird… write the song in standard time… the pot should have three handles…”. But decisions do need to be made and it is the intent of this book to give the readers ideas to work through so they can develop the internal tools needed to carry out their artwork with a biblical worldview. In this way, It Was Good: Making Art to the Glory of God will offer both theoretical and practical insights into the making of art from a biblical perspective. We as believers in the arts can show through the common grace of art a fleeting picture of Eden. We should not allow the arts to be the sole dominion of the enemies of God but instead we should join with Martin Luther in affirming our desire to see all the arts “in the service of Him who has given and created them.”

In selecting books for this list, Image Journal decided to list an author only once to end up with 100 different writers. Moreover, only creative writing was considered: fiction, poetry, drama, and creative nonfiction. The works selected manifest a genuine engagement with the Judeo-Christian heritage of faith, rather than merely using religion as background or subject matter. Authors featured on the list include notables like G.K. Chesterton, Ray Bradbury, Annie Dillard, T.S. Eliot, Madeleine L’Engle, C.S. Lewis, Thomas Merton, and many more. The list is orgnaized alphabetically by last name. “We hope that the following list offers but a glimpse of that wealth of talent this past century has seen — talent exhibited both by those who laid the groundwork for the great works now being written and by those whose compelling narratives and lyrics are helping to bring us into the twenty-first century with a renewed hope in the marriage of religion and art.” ~ Image