by Winifred E.I. Omoaka, 7.1.2020
Christian art isn’t to be seen as a general art genre but as a subject supporting everything and anything beyond the physicality of man. That is, the mindset and emotive attributes that (will) direct the artist’s process and outcome of the work. The custom of Christianity derives from the profile of Christ Jesus and his principles that has been seen as an influence to the consciousness of man and to the creative outlets through cultures and art movements such as iconography and the renaissance. Unlike realism and classical art, Christian art is manifested from the human experience, which could be hard to deliver in the sense of converting the nonphysical information to the physical. When an artist of the faith illustrates his revelation with/of God, his sources will come from the faith. Therefore everything that is executed will be of the supernatural, leaving the tangible ( the physical) aspect of things to be out of place. This dissertation will cover a brief history of the faith in the arts, how it has evolved from the past to current times with the use of the icon (depictions of the Christian faith) through a study of related artists who have contributed to the religious art, and how the Bible can be executed appropriately by those of the faith.
Throughout the ages of mankind, the use of the five senses changed through the cycle of action and reaction. It is believed that the visual aspect of communication was dominant even though the other senses worked hand in hand. The expression of sight was noted as the voice of communication; This is stated on a text by R. Modley on symbology (1960) ‘somehow an impact of a picture is more direct than the impact of a word’. Although the product ought to be shown in the physical ( depending on the medium), the major factor of distributing religious art is symbolism; figures which interpret complex statements. This allows us to comprehend the unfamiliar, like that of a metaphor – a figure of speech. In the role of symbolism, some figures may have ( in many cases) double meaning, and a combination of symbols in sync together could have a change in the message delivered than if it were to be displayed separately. This causes a decoding operation between the artist and the viewer – understanding the artist's visual sense in the application of the symbol(s) and the viewer’s observation. The content of symbols can vary by meaning and origin, therefore it is expected for the glossary of Christian symbolism maybe expansive. A discussion with E. Newton and W. Neil (1996) stated that the well-known icons of the faith such as the anchor which symbolises hope, the halo which identifies holiness and the togetherness of the hands which suggests the act of prayer. These are ‘distinctively related’ to its complex idea. Newton perceives that symbols such as these are set to be run-down as he says ‘ They are useful but not to illuminate’ and believes a powerful symbol would be that which the artist discovers on his own, not belonging to the mass of icons.
The impact of a Christian artworks is determined by the execution of its visual language and its method to how it is delivered to the service of Christianity. It is agreed that symbols in religion are important in delivering and exchanging messages of the gospel, as it is the highest means of communication, and an anchor to the multitude of believers.
The world is a visual object of God's glory and a source of reference to the Christian artist. But the presence of the divine is now considered a thing of the past. As the today's world is governed by man will-power - technology, aesthetics, rebellion, self- exaltation and grief; the evolution of the new-age identity and class; the awareness of a higher form of existence is fading. However, man hasn’t given up the devotion to building a haven for themselves, since they've failed to accomplish such a thing during their time building the tower of Babel (Genesis 11: 1-9)- they seek for the utopia. Therefore they parted ways with that which formally led them into eternal fulfilment to build the fleshy wisdom to guide their lives. It is now our duty as men and women of Christ to stretch out the congestion of the current age with the enlightenment of the gospel, in the context of creativity.
In this current time, the very relevance of symbols in today’s faith has either been withdrawn from the knowledge of man or recycled by foreign faiths and cultures. Not only that, the medium of symbolism has changed altogether. As mentioned earlier, the strongest sense of conversation is the eye, this is then followed by the ear. The early church (catholic, orthodox, etc) use the aid of the eye through sculptures, architectures and sacred activities whilst now, in the latter days, the power of sound is now the beacon of the gospel. The essence of word has emerged into the hearts of man as a literate source of assurance of God abiding in us. This movement emerged from the protestants who reformed the church in the past and it is believed to have demolished the man made image of God.
The rise of icons commenced within the 16th and 17th century as sources of devotion. As sacred as relics are seen to be, there is no doubt that the reason why those who possessed it will hospitalise it as though it is a living thing. By knowing its value, it could be used to the subject of evidence or edifying to one’s beliefs, an entitlement to the existing reality. However, sense of ritualism or rather idolism could be built up if the intention of the beholder subsides from the laws of God.
An example of the art of reformation can be seen from an exhibition that aired in 2013 by the Tate Britain on iconography. The exhibition delivers the relationship between the use of iconography and the act of reverence. The show explores the areas which means most to man – religion, politics and aesthetics. It explores a lifespan of hate- attacks artworks has received from the 16th century to now. The show was introduced with an article by the Guardian (2013) where Tabitha Barber, the co - curator of the exhibition says ‘viewers can examine the motivation of these assaults…’ as she talks on the objective of the show, stating how the arrangement was made to show how the people were compelled to oppress the works and to observe whether the same oppression still lives. One of the works displayed is the archaeological sculpture of Jesus Christ made in the 1500. This object is said to be the earliest pieces to be saved from the massacre of the reformation in the 16th century. The sculpture was discovered in 1954 in the depths of mercies chapel during the elevation of the site due to bomb damage. The limbs and crown of the sculpture are missing by the attack but the rest has been reserved by the people of the church ( at the time) to avoid further damage. The cause of the attack was the density of the graphical features which were to illustrate the illuminous expression of Christ during the crucifixion. I believe this could be related to the ‘law’ of reverence as God commanded Moses ‘ not to make any graven image’ (Exodus 20:4) which is recorded in the ten commandments. with this we can see that there is a line drawn between the real and the represented.
We could say that these very moments mirror with the accounts of the Bible – the old testament is mainly filled with miracles, visions and dreams, idolatry and other means of visual expressions. And as for the new testament, though it also deals with the physicality of things it also has a large quantity of literature; parables, sermons, meetings, letters and more - anyone would agree that the concept of evangelism may have ( to some extent) evolved from here. The use of sound is the visual of today’s church. The melody of music, the persuasion of motivational speakers, the teachings of pastors, the performances on stage and in film all contribute to the service of God. Rev. M. P Halverson states from the same book of ‘Symbolism…’ ‘Thus the mood of Protestantism was more encouraging to the development of music and the enlargement of preaching than it was to the use of visual signs, objects and actions’.
Lets try understand the sole purpose of religious artistry, and the duty of such works that will stand as the shadow of the supernatural. C. Antonova discusses the idea in her text on the ‘ Presence in the Icon’, (1970), perspective - reverse perspective. This is something I am yet to understand, but it mentions that artists illustrate the divine in reverse. It has been made clear that the imagery interprets the complex, but it can also alter our beliefs on how and what the divine displayed truly looks like. But from there it can still be a natural aura in the represented image, due to the already built - in relationship with the image. Antonova raises an example of the eastern orthodox, as the source of imagery is intimate with them. The likeness of Christ and the representation of Him bares an ontological effect on the essence of the being. This may have a defect on the host of the true entity.
This has been raised on a debate which Antonova reviewed concerning the image of Christ: she mentions of the iconoclasts foretold their certainty that the legitimate image of Christ is the eucharist (bread and wine). There were people who defended the statement saying ‘the eucharist isn’t just an image, but the Truth itself'. They believe it to be aligned with the truth; no similarity or difference, just as one. Therefore it is clear that they are adherent about the image being the shadow of the divine.
Through the era of relics and icons, they have gradually gone their separate ways in representing the divine, even though the icon has never been dependant on the relic, it shares a sense of resemblance to it. It has germinated its own sign to the divine. If anything, the icon borrowed the essence of the relics as a counterpart for the devotion of man. ( it has even elaborated the divine’s identity to full glory). The most important figure in all of iconoclasm is Jesus Christ. He is the cornerstone that expounds the Christian imagery. I will be identifying 3 of the common depictions of the Christ – the crucifixion, The Last Supper, and The Rapture( end of days).
No.1 The Crucifixion
The most recognisable icons of all time - the crucifix. A symbol of salvation, love, and justice which represents Christ fulfilling His mission which was to sacrifice Himself for humanity; so we can miss internal destruction; so we all who believe in Him may be one with Him ( 1 Peter 3:18)
Salvador Dali - the Christ of St John (1951)
When It comes down to the concept of iconography and symbolism, one will instantly think of surrealism. It is known for its great use of double meanings and using the tangible to describe the immaterial, I believe for it to play an infinite role in religious art and acknowledging that there was ( or still is ) an ongoing conflict of the surrealist art and the church, it is safe to say both parties could work hand in hand as they operate (in some way ) from the same source. As for Dali, after he encountered with his faith again, but also use religion as a ticket to return to Spain after ww1, he created one of the most profound versions of the crucifix of the modern day art. By the majority of the crucifix - art making, Dali’s painting is seen to be a sensation even to the Christian eye. Although the 'Christ of the St John,(1951)' isn't classified as a conventional religious artwork, because on a material sense, as it lacked the destructive nature, it definitely holds its own source of reverence. The process of the work was done with an architect who helped him (Dali) with perspective, and a strong -built actor; in which he used as his model. the cross is set on an angle for the figure to look down onto the seascape, which was his home town in Spain which the figure is positioned is different to the conventional positions of the Christ. the idea of the work was to make it seem as though the Christ is looking down onto the earth from Heaven, watching the human race redeemed as He saved us from death.
Andres Serrano - piss Christ (1950 -)
An article published by the Dazed magazine in 2015 on art religion; how artists have reacted and responded to religion through the arts. It shares a collection of artists from a wide range of backgrounds and practices, who shared their thoughts on religion which appeared to be rather provocative and explicit. Out of the many works mentioned I took an interest in Andre Serrano’s work .
By reading the title of this work one would think this work exist to blaspheme the Divine figure, when In fact the artwork illustrates how people of the faith have washed down the true doctrine of Christ with their humanised comfort. Andres Serrano, who made this photo in 1987 was tremendously critised by the medium of the work. He stated that he wanted to Convey familiarity mentioned before 'how society has cheapened the image of Christ...' and 'followers who twist His words to fit their own purpose'.
Serrano, an American artist/photographer who is well known for his ‘provocative’ and ‘confrontational’ images with high use of mixed media, unconventional substances defends his work on the Guardian article issued in 2012 by stating it's connotation to the circumstance of Christ's trauma stating 'so if Piss Christ upsets you, maybe it's a good thing to think about what happened on the cross.' It is clear that certain people (particularly those of the Christian faith) were offended by the explicit approach in representing the Christ; it doesn't matter if the context is comprehensible in the sense of acknowledging Christ's suffering - it's the visual uneasiness that will dishonour the divine, and the human eye. therefore, work had been on the pedestal for over 2 decades of cancellation, protests, and controversy. Serrano adds that the work is a reflection of himself as he also states 'Not only as an artist, but as a Christian.'
Serrano's pratice is shared between contemporary art and photography. Serrano's work emerged in 1985 where the birth (or acceptance) of the photograph reached the art market and art shows. He addresses his work ethic as leading one product to another, flowing in sequence; which may not always make sense to the viewer but to him. I believe his work could be considered subliminal by the use of unconventional items to mimic that of the painting which falls into the category of contemporary art. Serrano’s signature mark is the importance of words and how it can affect how people look at the image, it is now acknowledged that his products are understood by the titles given. Religion has been an important part of his art. Being brought up in a catholic home he mentions that the work has in fact made him feel Christian in an interview which aired in the 2002 'Speaking Freely' series.
no.2 The Lat Supper
The following artists who depicted the last supper ( Mathew 26: 17 - 30, Luke 7: 7 -23) are reviewed through the lens of subjectivity towards the infliction of race and gender
Leonardo Da Vinci, The Lat Supper (1498)
Leonardo Da Vinci, the legendary Italian artist who engraved his craft into the soil of the art world, who is recognised for the advanced knowledge and skills in major creative sectors of human invention. His involvement in religious art has an imence amount of reverence and critical attraction it could almost be considered sublime simply because of the construction of his works. I will be reviewing one of his influential works of this 'the Last Supper' ( 1498) which is based on the biblical account recorded in Matthew (Matt 26: 17 - 30). Da Vinci depicts the event of Christ dining with His disciples, the last gathering before His main purpose of being in the world unfolds ( the crucifixion). The event of the painting represents is the very first activity of the Eucharist ( the breaking of bread and wine) a practice that is to be made by followers in remembrance of their saviour who redeemed them from their sins. From the painting, we can see that Da Vinci captures the scene where Christ is about to declare the tragedy that will commence, leaving the disciples in despair. The condition of the work has not been persevered well as it was recorded that it was an experiment piece - Da Vinci skills didn’t fully comply with the process in making a fresco (a type of painting done with watercolour on wet plaster), so his method of appropriating the materials were merely out of trial and error, hence it being troubling for him. Throughout the ages the work has gone through natural distress and reproach that he current state of the painting is probably far from its original appearance.
The last supper piece holds a rather weird conspiracy with the composition and style of the figures drawn made in the work. The feud is called the ‘Da Vinci Code’. The moment I came across this idea I assumed that scholars in the maths or art filed had really dug their heads to find equations or hidden secrets in his( da Vinci) works; only because he’s known for being heavily skilled in geometry; however, the theory derived from a thriller novel written by Dan Brown. It explores an alternate religious history that focuses on the Jesus Christ art that were deceased from the Merovingian kings of France. Dan Brown was a guest in a conference run by web summit that aired 2015 on religion and science, and he briefly speaks on his belief on spirituality stating technology may have a chance in exceeding religion ‘ … those creating the technology of tomorrow will do more to influence the future of human spirituality than all of the religious leaders combined.’ The book implied that certain depictions of the Christ is partnered with a companion – Mary Magdalene. This caused an uproar from the Christendom ( specifically the Catholics) due to the manipulations of the doctrine, neither the bible, archaeological, or scientific data bares any documentation of Mary Magdalene being Jesus’s companion; or that she was eever apart of the supper(those in attendance were the twelve disciples, who were all men). Despite this the novel has been one of the best sellers and received its movie in 2006.
according to the movie, The Code explains how they have decoded the painting by identity the 6th figure on the left, which appeared to look feminine. Out of all the figures created in the painting, that figure looked the most different. The pale skin, the head slanting to the left shoulder ( a typical posture for a female in renaissance paintings) and most importantly, its placed right next to Jesus; where the logical assumption comes to it being a female, Mary Magdalene; the ‘companion’ of Jesus Christ'. Another point is taken from their outfits – they are both wearing similar clothing, unlike the other figures. keep in mind Da Vinci, was not religious. He had has own agenda and this work could probably be an opinion on what he feels about the faith, or maybe it is a reflection of the difficult process he went through creating the work. Some critics say he’s fond of drawing that way, and maybe it’s not his intention to create a feminine figure.
Renee Cox, Yo Mama, 1996
In a similar setting within the contemporary era, a Caribbean artist by the name of Renee Cox references the last super in a rather 'erotic' manner. Cox's practice explores and challenges the standards of society by using her culture(race) and body (femininity) as an object of projection. Her work conforms to religious accounts, iconography and racial – related events. In the religious arena. ‘Yo Mama’ aired in 2001 at a solo exhibition in New York. The photographic work is a rework of the legendary Leonardo Da Vinci’s ‘The Last Supper’; the only difference is, it features a load of black people. Excluding the white man on the right hand side of the naked woman (artist) , who is Judas. The rather ‘explicit’ work didn’t receive a positive response as it tackles down the European religious artistry, and the backlash of the catholic church do not approve of the explicit imagery and how the subject matter, specifically to the account she was depicting was handled inappropriately. She defends herself by stating the lack of black imagery in high authorised artworks ‘ Christianity is big in the African – American community, but there are no representations of us…’. She believes that there needs to be a place of people of colour in religious scenarios, and declares that she has the right to execute her art with people who look like her .
Da Vinci’s and Renee Cox’s works share a common factor from the response they received and a direct reference to the theory (Renee Cox + Da Vinci code). In the case of Renee cox, she positioned herself to be the Christ, naked. And even though she blatantly up-cycled the Da Vinci painting, she twisted the depiction of the account. In the religious works one would only find nudity in the crucifix or the baby Jesus paintings, and not the last supper. This was considered blasphemous by the exoticism caused by her nudity and her self-exaltation. What is seen here is a sense of power and gender having a battle with nudity due to its connotations that either normalise or vandalise the body.
No. The Rapture ( End of Days)
Majority of the scriptures holds many descriptions of what divine events will take place in the future, especially in the book of the Revelation, which bares accounts of greatest supernatural phenomena that cause the end of the world and the beginning of an entirely different reality.
Bill viola, The Crossing (1996)
Bill Viola, a recognized contemporary artist whose work is held accountable to opening doors to film, installation and performance through the resource of modern technology. His work is based on the human experience, an aspect of mankind that deals with the psyche; which I believe to be an important aspect of making art as an Christian artist. He deals with subjects such as life and death, which the installation film ‘the Crossing’ that aired in 1996 is about. This subject matter is specifically a motive in his work as he himself has encountered a near – death experience when he was 6 years old. According to a non – profit news resource New Publicly, it stated that his experience was rather spectacular, which no one would internally agree with. His references on spirituality isn’t particularly Christian related, rather, of a mixture of religious traditions such as Catholicism, Buddhism and Islam. These references with his events twined together to execute the phenomena found in spirituality.
The videography may connote on religious imagery. According to an article from Khan Academy, Viola is inspired by religious doctrines, therefore I believe that people of various beliefs can read the work according to their faith; hence why I’ve chosen this work due to understanding it through the Christian lens. From this I perceive Viola’s work to be multi – lingual in a spiritual sense, a multi – religious work I should say. Most of his works are objected to the substance of fire and water – the article described these two substances as elements of ‘change, redemption, transformation and renewal…’. From the Christian perspective, the film could be depicting the rapture. Viola’s film could be paired to the account of the sheep and the goat recorded in Mathew 25; where God divides the redeemed from the condemned. This could be approved firstly by the positioning of the two images – the fire on the left, and the water on the right. The man on fire on the left depicts hell fire because it's common to man that anything that’s on the left hand side of things holds the connotations of negativity, whilst on the right hand side that which is pure, holy, light and correct. These two sides doesn’t only apply to the spiritual side of things but also to the physical. The fire connotes hell, sin, wrath of God’s judgement to those who did not follow Him. The water symbolises cleansing, baptism, purity, righteousness. From the film one could observe the movement in each of the images, the figure on fires seems as though his descending to the ground, and the figure splattered in water looks as though he’s levitating (ascending).
Before I identify the qualities expected of an artist of the Christian faith, I would like to write on one of the most predominant projects that has affected the contemporary culture and the Christian community; the ‘Sunday Service’.
Created by the superstar musician Kanye Omari West, who has acclaimed influence in a lot of today’s culture such as fashion, entrepreneurship, race and politics. He is considered to be one of the most controversial artists of the century by his our spoken opinions on confidential issues and an edgy visual and verbal artistry in his works. He is known for not being reserved to conflict, despite it putting him through rough situations. He isn’t positively known in the Christendom, in the past there was an agenda of him selling his soul to the devil, claiming that he is God, and has been disrespecting the faith by putting his ‘ego above God’ by calling himself ‘Yeezus ‘ a word play to the name of Jesus, a mockery of Gods name which had a dominant effect on the masses after project with Jay Z in 2011/12. I will be covering his transformation of his life as an artist who I believe has used Christianity as a asset to execute his creativity.
Kanye's latest album 'Jesus is King (2019) released by Good Music in October of 2019 is a follow up to yet another creative direction he has taken under the music genre - Gospel. Prior to this record, Kanye reached his breaking point with his mental condition and industry complexes to the point of dropping out his last tour 'Ye tour' and being hospitalised in 2017/18. From the beginning of 2019, Kanye came out of his oppression in a new light, believed to be redeemed of his old self to a person no one has expected him to be. He has moved into the realm of Gospel music, by firstly creating his own choir 'Sunday Service' and an outdoor ministry. The album has been successful in the gospel- related charts such as the US Christian songs and Gospel songs, Billboard 200 and many more.
During the listening party in September 2019 Kanye states the album to be a product of his testimony ' This album has been made to be an expression of the gospel and to share the gospel and the truth of what Jesus has done to me'. It's clear that the only cause of him being a changed man is by the salvation of Christ, is through a life changing experience, which the theme of the album is about. A post from Time magazine (2019) addresses a division in the Christendom concerning Kanye because of his past. Kanye knew Christians will be the first people to judge as he declares in the songs 'Hands on' and 'Selah' where he feels the lack of compassion from the people of the faith he sings about. Critics from social media voice out on the sudden turn to 'spiritual music' and his past in making harsh comments and actions on confidential issues. Apparently he still addresses these issues in the album. Despite this, other people of the faith have been in support of his work, and his transformation, hoping it to be definite.
Kanye has shown that he is now devoted to God, and not to the things of the world despite his past encounters with the subject of the faith. These course of events in his life mirror that with St Paul, the most respected apostle in the bible. He too was a accuser of the Christian faith, he was a murderer. When God evidently turned his life around, people doubted him, even though he (Paul) has proved himself time and time again. ( Acts 9 – Paul’s conversion) As a Christian we should give God the Glory for He is been accepted by the heart of a man of influence, and to keep him (Kanye) in prayer. We should not condemn him, for we, even us who may have been in the faith for a long time may not be justified in the eyes of God.
As I’ve mentioned before , I take on that the disbelief of the protestants concerning in the ‘image of God’ came from what was commanded of us through Moses ‘you shall not make of yourself any calved images’ ( Exodus 20:4) I believe their need to reform the house of God was because the gospel wasn’t spread effectively; the Word was present but not existent enough for people to pursue in their lives. On the other hand, everything overwhelming and beautiful created by man is born from the craft of God.
This is recorded in Genesis 1:1-23. God manifested the primary means of art – a painting (colour), sculpture (trees mountains, animals, etc) light and darkness ( day and night, the water cycle, germination of a flower etc), all these are under the authority of God, and it glorifies Him. There is no doubt that the very power which God possesses has been implanted in many people of creativity because we are made in His image’ (Genesis 2: 7). It is His power that is converted into talent. It is our responsibility to create and endure, acquire knowledge and resources to exploit wonders for the glory of God.
Exodus 35:31 – 33
“ and He has filled him with the Spirit of God, in wisdom and understanding in knowledge and all manner of workmanship, to design artworks, to work in gold and silver and bronze, in cutting jewels for setting, in calving wood and to work in all manner of artistic workmanship”
As an emerging artist of the faith, it is one's purpose to enrich the mind and heart of man through the gifts and creations of the creator. A talk /sermon conducted by CFW's new Faith & Art Lecture series had a guest speaker artist/pastor Vito Aiuto who speaks on the visions required for the Christian artist. These include: the vision of the world, of yourself, and of God.
The vision Of the world
Pastor Aiuto states that the first thing required of an artist is to have a good understanding of the world. “To be able to see the created world as it really is.'' To discipline yourself to not look at what you want to see, but to see what you look at. To acknowledge the implicit things in people, objects, environments, situations, etc. it is written in Colossians that ‘ everything in this world has been reconciled through Christ to God’. Therefore there isn’t anything that is less important in the authority of God, to be knowledgeable.
The vision of God
For an artist of faith to produce work it will come from the arena of that faith, therefore the access tools of this are at first the word of God ( i.e. the Bible). This is a primary factor which a Christian should carry out, to read, meditate and respond to the teachings of God through the words of his servants, and that of Jesus Christ. It is considered as the manual of life, it counsels and guides the mind, heart and soul. Prayer; talking to God is vital for the Christian walk, it’s a medium used to communicate to Him, for request, for praise and worship and fellowship. Many servants of God were successful in fulfilling their service to God through seeking and abiding in Him; asking for provision and glorifying Him for His goodness. ‘first seek the kingdom of God and His righteousness, and all these things shall be added to you’ Mathew 6:33.
There are other means such as theological texts, artistic mediums such as songs, hymns etc. The resources are expansive. The idea of who God is to you is important – this can be observed from experiences of His Power through your life or of another, reading the scriptures, the nature of an environment, situations and how and where God fits in in certain circumstances. Your art will reflect on your belief of God. There is no doubt there is more to what we know about God, the deeper one will go into the mysteries of God the more enlightened one will be to execute the highest level of truth to the untold audience. It is the duty of the Christian artist to grow in knowledge of his creator in order to deliver His nature without any duality.
The vision of yourself (Identity)
A Christian artist can be considered to be a developer to the spreading of the gospel. It is also important to know who you are in the faith in Christ, and who you are as an artist. By decoding yourself you should ask: who am I? what is my profession and its content? Why my I doing what I am doing? Its importance? You should always seek for a clear vision of your identity in the art world and in Christ as it tends to get clouded up with distractions of such; and to be in line with who God wants you to be. But in this conflict with distrust commence because of the dishonesty that abides in us. it also questions the very thing that is the literate Truth due to the fear of being hurt; and as artists of the belief in God where trust and many positive qualities are embedded (in Him) I believe it is important for us to execute that image in the most persuasive way possible.
Not to romanticise the gospel especially in this time where internal hospitality is being desperately searched for, we will need to make sure that our context of the work comes from the Word. This will make us to journey on a difficult road - the acts of persecution will fight with its sensitivity and ignorance of the applied truth. I believe if anything should be preached/commissioned in the art at this time is that of redemption. H. Brand and A. Chaplin on the 'Art and Soul’ (1999) discussed on the importance of redemption. They project it to be the source to being one with living Life; the true way. 'Redemption means to buy back, to ransom'. This is the occupation of Christ, the sacrifice He offered to pay for humanity. It is through the communion of Christ one can truly be free, whole. The reality of companionship can be restored(in reconciliation)once its restriction (sin) is shunned; and receiving the full of understanding of what it means to be human, and to be comforted. (Eph 1:7, Gal 1:4, Gal 2:20) . If this were to be illustrated the artist must assure not to map out its content so plainly, not to copy and paste the Word, because the Word of God isn't plain. The work can be subjected to one's experience, as many people of the arts would do. But one thing that should be portrayed is, as the writer stated 'The Christian message is that Grace is free, but it is not cheap.' And appointed the target audience's aid saying ' cheap Grace will not convene anyone'. The viewer should be able to perceive the situation and it's solution, they should be able to (in some sense) mirror their life with what they see, and take in the conclusion of matter as an aid to end their negative problems and opinions. The writer ends with quoting G.Bart on the 'Principles of screenwriting' lecture’- 'we cannot simply show what is true, we have to show what is believable’.
Christian art is in no doubt an empowering tool to the service of the gospel, whether the work is in support or in opposition to the doctrine, the word of God is being shared (God's word will not return to Him invain Isaiah . The Good news has been delivered through a manner of forms, under the exchangeable aims of seeing and hearing; unlike the past, where the objects of were found in antiques and 'rituals'. In these current times, where the use of word has more impact than the use of image, the contemporary culture, music, film, photography and performance, all that interactively symbolise the Bible is received.
The impact of an Christian artwork is determined by the level of its visual language, And with symbolism being the language to express the nonphysical, we can see through the listed artists that they were to accomplish such in their respected practice(s). By questioning the audience’s stability in the faith, appropriating cultural acceptance, causing conspiracy in the story telling of the work, and more. The life of Jesus Christ, has been most profitable in the art world, and in ranking 3 of the most recognised icons being the cross, the last supper and the rapture, His influence surely is infinite to the masses. Christian art is manifested from experience, The revelation of/ with God is important to for the testifying of God's glory and to the saving of the soul. Kanye West is an example of God intervening in one's life for the better. It is important for an artist of the faith to first work on themselves as a Christian, by studying and living according to the Bible, knowing that you re a child of God, a vessel to be used for God’s glory; because it is by how much one knows God one will be able to present.
A
*https://www.theguardian.com/artanddesign/2012/sep/28/andres-serrano-piss-christ-new-york Andres Serrano's controversial Piss Christ goes on view in New YorkAmanda Holpuch (2012)
* https://www.youtube.com/watch?v=slXCxKkF-so&t=958s Artist Interview With Andres Serrano, Artnet, Dec 4 2013
* H. Brand and A.Chaplin - Art and soul: signposts for Christians in the arts (Solway, 1999) pgs 5, 7, 15, 16 – 20, 55, 57 – 63
* Art as fulfilment: the use of religion and spirituality in contemporary art
Does art connect us? The RA Talk(2019)
*Art under Attack: Histories of British Iconoclasm (2 October 2013 – 5 January 2014) https://www.tate.org.uk/whats-on/tate-britain/exhibition/art-under-attack-histories-british-iconoclasm
B
* By Dan Fox (2010) Believe it or Not Religion versus spirituality in contemporary art https://frieze.com/article/believe-it-or-not
* https://billviola.com/biograph.htm Bill Viola, biograpghy
*https://publicdelivery.org/bill-viola-crossing/#Video_Bill_Viola_The_Crossing_1996 Bill Viola’s The Crossing – Everything you need to know, Published Wednesday October 16, 2019
*https://www.khanacademy.org/humanities/ap-art-history/global-contemporary/a/viola-the-crossing Bill Viola, The Crossing, Essay by Allison Young,Khan Academy
C
*Faith and art lectures: three visionaries necessary for the Christian artist – Redeemer CFW, Nov 12, 2015 https://youtu.be/Im3J6K4ZlTs
*https://www.dalipaintings.com/christ-of-saint-john-of-the-cross.jsp Christ of Saint John of the Cross, 1951 by Salvador Dali
D
*https://www.dailymotion.com/video/x30xd2b Daily Motion ( our planet 03) Salvador Dali - Christ of Saint John of the Cross (2015?)
*https://www.youtube.com/watch?v=796qZTi262M Dan Brown, the author of 'The Da Vinci Code', in conversation with Peter Kafka Dec 10, 2015 Web Summit
E
*https://evidencetobelieve.net/the-da-vinci-code-and-the-last-supper/
Evidence to Believe - The Da Vinci Code and the Last Supper
M
* https://melmagazine.com/en-us/story/conservatives-still-pissed-about-piss-christ-2 MEL BETA Culture by Tracy Moore (2017)
R
* Photo - https://www.rct.uk/collection/403934/icon-of-the-mandylion-of-edessa royal collection trust - Byzantine School Icon of the Mandylion of Edessa 18th century
*https://www.reneecox.org/about Renee Cox, Biograpghy
S
*Statue of the Dead Christ on loan for the first time to Tate Britain from Mercers’ Hall for Art under Attack: Histories of British Iconoclasm (2013)
* SALAVDOR DALI OFFICAL WEBSITE http://www.salvadordali.com/paintings/
*Salvador Dali - Distant Mirros, may 7, 2012
https://www.youtube.com/watch?v=q-HAyqUPmeo#action=share
* Salvador Dali a collection of 933 works (HD) – Learn from Masters, Oct1, 2017 https://youtu.be/XycZtblDZgA
*https://www.youtube.com/watch?v=M-umDXZ61Ng&t=302s Speaking Freely: Andres Serrano , July 20, 2015
*Space, time and presence in the icon: seeing the world through the eyes of God by 1970- author. London : Routledge, 2016. pgs 63, 74-75, 76
*surrealism the big ideas (directors cut) https://youtu.be/rp2PRA0qaD4 the Dali Museum, Oct 10, 2018
*E. Whitney - symbology: the use of symbols in visual communication (art directors club, 1960) pgs 17 - 19,21,22,27 -30, 169-175,181,182
T
*Tate Britan - Art Under Attack: Histories of British Iconoclasm – review (2013)
https://www.theguardian.com/artanddesign/2013/oct/06/art-under-attack-tate-review
* the art history genres: the importance of surrealism in religious art – E How, May 1, 2009 https://youtu.be/IdTSalWldi4
*he art history genres: what is the purpose of religious art? – E How, May 19, 2009
*The beautiful, the sublime, the divine by Paul Crowther (Stanford university press,2016) – notes to chapter 6- pg 170
* W.Neil and E. Newton - The Christian faith in art (hodder and Stoughton LTD, 1966), pg 10 - 11, 13, 14-15, 17 – 20, 25-26
*The ground breaking artists challenging religion through art (2015), by Leah Sinclair
* https://time.com/5716576/kanye-west-jesus-is-king-gospel-reaction/
How Kanye West's Controversial "Jesus Is King" Is Dividing the Christian Community – Time, By Andrew R. Chow, Nov1, 2019
*the Holy bible New King James Version
Acts 9
Colossians 1: 19 - 20
Exodus 20:4
Exodus 35: 31 – 33
Ephesians 1:7
Galatians 1:4
Galatians 2:20
Genesis 1
Mathew 6:33
Mathew 23:12
1 peter 1
* https://www3.123movies.gdn/the-da-vinci-code-watch-free/ The Da Vinci Code Genre: Mystery, Thriller Director: Ron Howard Release: 2006 (123 movies)
* Photo - The Last Supper - by Leonardo Da Vinci https://www.leonardodavinci.net/the-last-supper.jsp
*https://en.wikipedia.org/wiki/The_Da_Vinci_Code#Film The Da Vinci Code From Wikipedia, the free encyclopaedia ( accessed in November,2019)
W
* In Defense of Iconography - Why is it so Important? – Metatron, Dec 16, 2018 https://youtu.be/ob6p8hZZykE
* https://en.m.wikipedia.org/wiki/Jesus_Is_King
Jesus is King - Wikipiedia (accessed Jan 5, 2019
