By Richard Viladesau
This booklet explores the position of aesthetic event in our belief and knowing of the holy. Richard Viladesau's aim is to articulate a theology of revelation, tested relating to 3 imperative dimensions of the cultured realm: feeling and mind's eye; attractiveness (or taste); and the humanities. After in short contemplating ways that theology itself should be imaginitive or appealing, Viladesau concentrates at the theological value of aesthetic info supplied via all of the 3 significant spheres of aesthetic conception and reaction. in the course of the paintings, the underlying query is how every one of those spheres serves as a resource (however ambiguous) of revelation. even though he frames a lot of his argument by way of Catholic theology--from the Church Fathers to Karl Rahner, Hans urs von Balthasar, Bernard Lonergan, and David Tracy--Viladesau additionally makes broad use of rules from the Protestant theologian of the humanities Gerardus van der Leeuw, and attracts insights from such assorted thinkers as Hans Goerg Gadamer, Wolfhart Pannenberg, and Iris Murdoch. His research is enlivened by way of the inventive examples he selects: the track of Mozart as meditated by means of Karl Barth, Schoenbergs opera Moses und Aron, the sculptures of Chartres Cathedral, poems by way of Rilke and Michelangelo, and so forth. What emerges from this learn is what Viladeseau phrases a transcendental theology of aesthetics. In Thomistic phrases, he reveals that attractiveness is not just a perfection yet a transcendental. that's, any example of good looks, rightly perceived and rightly understood, could be noticeable to indicate divinely appealing issues in addition. In different phrases, Viladesau argues, God is absolutely the and precious for the potential for beauty.
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Additional info for Theological Aesthetics: God in Imagination, Beauty, and Art
Literary analysis) to theological contents is most pertinent to those "functional specialties" that Lonergan names research, interpretation, history, and communications. The remaining specialties--dialectics, foundations, doctrines, and systematics--are the principal field of theological aesthetics in its narrower sense: the use of properly theological starting points, categories, and methods to formulate an account of (1) perception (including sensation and imagination), (2) beauty, and (3) the arts.
It is radiant, and what it radiates is joy. It attracts and therefore it conquers. It is, therefore, beautiful. 170 Because of the beauty of its object and method, theology is a beautiful science. Barth cites Anselm of Canterbury's dictum that the ratio sought by faith is not only utilitas but also pulchritudo that isspeciosa super intellectum hominum 171 ( Cur Deus Homo, I, i). Not only is it delightful [delectabile quiddam] ( Monologion, 6), but this delight is its first purpose. " 173Nevertheless, he insists that this beauty is to be perceived rather than discussed: "however much we may try to illustrate it in detail, this insight depends too much on the presence of the necessary feeling to allow of theoretical development.
Meanwhile, Aaron tells the people that God's entire favor will be poured out on them, and commands that they kneel in worship. But the people are confused; they see no object for their prayer. Aaron proclaims the doctrine of the invisible God: Close your eyes, stop up your ears! Only thus can you see and hear Him! No living person sees or hears Him otherwise! The people and the priests reject the idea of an invisible, omnipresent God, who wants no sacrifice and gives no rewards: We neither fear nor love Him!