By Frithjof Schuon
This version of popular thinker Frithjof Schuon's writings near to paintings, chosen and edited through his spouse Catherine Schuon, includes over 270 photographs―200 colour and 70 black and white. He then offers with the non secular value of the creative productions of Christianity, Islam, Hinduism, Buddhism, and the Far-Eastern global, whereas additionally masking the themes of attractiveness and the experience of the sacred, the crafts, poetry, track, and dance, and get dressed and atmosphere.
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Extra resources for Art from the Sacred to the Profane: East and West (Writings of Frithjof Schuon)
After him the Patriarch Joachim required—in his final will and testament—that icons must always be painted based on old versions and never "follow Latin or German versions, that are invented in line with the non-public whim of the artist and corrupt the culture of the Church. " Many texts of this sort should be mentioned. 2 119. Cathedral of Reims, France, thirteenth century one hundred twenty. Figures at the South doorway, Chartres Cathedral, thirteenth century If painted images are an important expression of Christian spirituality, sculptured photos have just a secondary necessity that's additionally kind of "local. " A cathedral coated with sculpture is veritably a profound and robust expression of Christianity, yet one who is largely decided by way of a fusion of Teutonic with Latin genius. A Gothic facade goals at embodying a preaching as concretely as attainable; it may well contain esoteric elements—and certainly needs to achieve this due to its symbolism—but it has no longer the quasi-sacramental personality of an iconostasis. one of many glories of the Western cathedral is its stained glass, that's like a gap in the direction of heaven: the rose-window is sort of a glowing image of the metaphysical universe, of the cosmic reverberations of the "Self. " 121. Church of the Theatines, Munich, seventeenth century 122. Shrine of the Holy pass, Rome, early 18th century Latin Christianity hasn't ever been in a position to get rid of thoroughly the paganism of antiquity. After having smouldered for hundreds of years underneath the religious and creative marvels of medieval civilization, it broke out and seemed in a heavier and extra brutal shape. It took its revenge by means of destroying, at the highbrow point in addition to at the artistic3 and different degrees, the traditional expressions of the Christian genius. The Renaissance, an imperialism of bourgeois and bankers, used to be at the point of varieties an intrinsic heresy. The Renaissance nonetheless retained yes characteristics of intelligence and grandeur, while the Baroque kind may well hardly ever exhibit whatever however the non secular penury and the hole and depressing turgidity of its interval. past due Gothic statuary has all of the features of a dense and unintelligent bourgeois paintings; the Renaissance used to be in a powerful place in environment opposed to it the noble and clever artwork of a Donatello or a Cellini. yet none the fewer, taken as an entire, the misdeeds of Gothic paintings are a small topic beside these of the profane, passionate, and pompous paintings of the Renaissance. without doubt undesirable flavor and incapability are to be met with in all places, yet culture neutralizes them and decreases them to a minimal that's continually tolerable. the very first thing that moves one in a standard masterpiece is its intelligence: an intelligence which surprises either via its complexity and by way of its strength of synthesis, an intelligence which envelops, penetrates, and uplifts. four 124. Rose window of the South transept, Chartres Cathedral, thirteenth century Humanly conversing a few artists of the Renaissance are nice, yet with a greatness which turns into small within the face of the greatness of the sacred.
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