That Muslims are both consumers and practitioners of comedy may run counter to the otherwise ubiquitous notion that Islam, seemingly above all other religious traditions, is devoid of humor. Yet comedy, especially its staged performance version known as stand-up, is an occupation readily taken up by a number of Muslim comedians during the 21st century in North America. Muslim comedians are also South Asian comedians, Arab comedians, Iranian comedians, or Black comedians, among others, and the naming of their comedy explicitly as “Muslim” can be traced to how openly they speak of their common experiences of being subject to anti-Muslim hostility as a racialized act of violence. This racialization of Islam relies on “looking” Muslim: phenotypic features like dark hair, skin, and beards that simultaneously sweep up others that may share these attributes and make them targets of institutional and interpersonal violences. This common refrain can be seen especially in the material of comedians from the Allah Made Me Funny and Axis of Evil tours during the early 2000s, while later comedians like Hasan Minhaj, Aziz Ansari, and Kumail Nanjiani describe similar experiences in added terms of a racialized solidarity with other minoritized communities of color in the United States. These later comedians of the 2010s and their brand of politically oriented comedy have been upheld by dominant arts industries as examples of American multiculturalism and diversity, coinciding with the large-scale and cross-sectional social justice efforts to support undocumented immigrants, Black Lives Matter, and the #MeToo movement. Far from being a mark of their non-belonging in North American society, this racialized association with Islam is platformed as emblematic of North American societies: their exceptional openness and unparalleled freedoms. At the same time, however, women and Black Muslim comedians are rarely bestowed a similar entrée of visibility as “Muslim” comedians due to the hegemonic racialized image of Muslims as terrifying “terrorists”—a distorted privilege accessible usually only to male comedians of South Asian or Middle Eastern heritage.
Article
American Muslim Comedy
Samah Selina Choudhury
Article
Architecture, the Built Environment, and Religion in America
Peter W. Williams
The development of religious architecture in what is now the United States is tied closely to continuing immigration and the development both of de facto and de jure religious pluralism. Prior to the arrival of Europeans, seminomadic Native Americans built temporary structures, while those farther south erected more permanent temples, most notably those of the Aztecs in Mexico. Spanish settlers in what is now the U.S. Sunbelt built mission chapels, with those in California incorporating a mixture of styles and building techniques derived from Spanish, Moorish, and indigenous traditions. Puritans in New England and Quakers in Pennsylvania erected meeting houses, architecturally simple structures based on secular models and eschewing the notion of “sacred space.” Anglicans from Boston to Charleston imported English neo-classical models devised by Sir Christopher Wren and Sir James Gibbs in the mother country, devised to accommodate Anglican sacramental worship. Later classical styles, especially the Roman and Greek revivals, reflected the republican ethos of the New Republic and were adopted by a whole range of religious traditions including Catholics and Jews. Urbanization and enhanced immigration following the Civil War saw adaptations by Protestants, including auditoriums, institutional churches, and the Akron Plan; by Jews, who invented a new, eclectic style for synagogues and temples; by Anglicans, who revived English Gothic traditions for churches and cathedrals; and by Roman Catholics, who turned to Continental Gothic for their inspiration. Mormon temples, beginning in Salt Lake City, took on new forms after that faith spread across the nation. During the post-WWII era, the colonial revival style became popular, especially in the South, reflecting patriotic and regional values. Following the immigration reform of 1965, waves of newcomers from Asia and the Middle East brought their traditional mosques and temples, often considerably modified for worship in the diaspora. Religious architecture, like the nation at large, has reflected an ongoing process of change, adapting old forms and inventing new ones to accommodate changing demographics, settlement patterns, and the necessities of living in a pluralistic society where religion is protected but not supported by the government.
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Art and Religion in Ancient Greece and Rome
Robin Osborne and Caroline Vout
One of the challenges shared across cultures and faiths is the intangible, ineffable nature of the divine. One problematic, yet theologically productive, solution to this problem is to embody the divine in sculpture and painting; another is to seek divine aid and attest to divine presence by making votive offerings. In the absence of a sacred text, it was sculptural and graphic representation of the divine that made sanctuaries and temples in Greece and Rome theologically active places. But the need to experience god was not confined to these centers. Greek and Roman gods were everywhere—on coins, gems, drinking vessels, domestic wall paintings. Even when they were not there, their power could be felt in the representation of those who had felt their power. They were as pervasive as they were all seeing.
This article examines how this material culture worked to bring gods and mortals into contact. It does so by tackling three major issues: first, it discusses how a wide range of artifacts, monumental and modest, shaped sanctuary space and guided and recorded the worshipper’s interaction with the divine; second, it looks at images of gods themselves and how these affected epiphany, while maintaining a critical gap and insisting on their strangeness; and third, it uses art to rethink the relationship of religion and myth. Although there are some continuities between cultures, the rise of Hellenistic and Roman ruler cults created a new subcategory of gods, creating additional representational challenges. Out of this came Christ, who was god incarnate. We briefly explore how early Christian artists used the problems of anthropomorphism to their spiritual advantage.
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Arts and Ethics: Questions
David Fenner
The world of art, across the globe and especially in the 20th and 21st centuries, has presented a range of challenges to those who attend to that world. These challenges span various spectra, but one set is ethical in character. How one responds to these ethical challenges will depend on one’s general ethical commitments and perspectives, but it will also depend, first, on one’s view of the relationship between the arts and ethics and, second, on understanding the context in which the challenge is made and the ethical challenge itself. Censoring a work of art, which can itself take many forms, is the result of meeting a particular challenge with the judgment that the work violates in important ways some ethical precept or set of precepts.
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Arts and Ethics: Overview
Iain Robertson
The art market has changed significantly since its modern inception in the Renaissance. It has grown into a global industry. There are a number of crucial concepts that have become points of disagreement and discussion: authentication, restitution, repatriation, the distinction between the work of art and the creator, and the moral rights of artists. Notions surrounding authenticity have changed significantly over time. By the 18th century, authorship became inseparable from value, whereas it carried less importance in earlier periods. The degree a work has been altered or restored is also key to ascertaining its authentication. The restitution of a work of art is distinct from its repatriation; restitution refers to individual claims most commonly asserted today with reference to the period of the National Socialist government in Germany. Attitudes toward trophies of war changed in the early 20th century, and repatriation is today a much more acceptable notion than it once was. Whether the impression or value of a work of art is affected by the misconduct or immoral nature of the creator or collector is a contentious issue. There are numerous examples of immoral artists, collectors, and dealers; but it is a different matter to attach their immorality to a work of art created, collected, or dealt by these protagonists. The moral right of artists does just that. It argues for the work of art to be considered an inalienable part of the creator, which suggest that the character of the artist is extended to include the work of art.
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Autobiography, Biography, and Theological Questioning
John D. Barbour
Autobiography and biography (which together will be called “life writing”) raise theological questions in ways different from systematic or constructive theology. These forms of life writing tell a story that may or may not be correlated with traditional doctrines. They integrate the first order discourse of symbol and narrative with secondary hermeneutical reflections that interpret and analyze the meaning and truth of religious language. The probing and disturbing questioning in a profound autobiography such as Augustine’s contrasts with the assurances and settled answers expected of theology by religious institutions and communities. Particular religious questions shape specific genres of life writing such as Puritan discourses, nature writing, or African American autobiographies. The theology in autobiography may be either explicit or implicit and involves both questioning and affirmation, as may be seen in works as different as Newman’s Apologia Pro Vita Sua and Edmund Gosse’s Father and Son. Conversion has been a central theme and shaping influence on Christian texts, even when authors challenge this focus and create alternative forms. A central theological question posed by autobiography concerns the authority of individual experience when it contrasts or conflicts with traditional norms asserted by orthodox believers and ecclesiastical hierarchy. In spiritual autobiographies by contemporary writers, we see serious attention given to communal norms for life stories and a search for a distinctive personal apprehension of what is sacred. Autobiographical writing has been stronger in the history of some religious traditions than in others. Yet in the modern world, almost every culture has produced life writing that questions or challenges established patterns of thought and practice. In contrast with autobiography, sacred biography has been an important part of every religious tradition, usually describing an exemplar to be revered and imitated. Its strong didactic interests often curb theological questioning of established norms. While modern scholarly biographies often mute theological questions, some writers raise normative issues and argue for why the subject’s life should be valued. As well as the theology explored within life writing, many works reveal a theology of life writing, that is, beliefs about how this kind of writing may bring the author or readers better understanding of God or deeper faith.
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Bible and Film
Richard Walsh
For most, the designation “Bible and film” refers to the studio epics of the 1950s, as well as Mel Gibson’s financially successful The Passion of the Christ. This designation, however, also includes silents, travelogues, documentaries, musicals, comedies, parodies, television miniseries and serials, shorts, and avant-garde art films. Other than Jesus, who starred in numerous passion plays, the most popular biblical film subjects are those characters or stories already successful in 19th-century theater, operas, or novels. Since at least the 1990s, “Bible and film” has also referred to the work of biblical critics. Such scholars deal in semiotics, ideology, and reception criticism rather than the theology and apologetics of their precursors. These scholars have vastly expanded work under the “Bible and film” umbrella to include the Bible’s cinematic use as artifact, quotation, and so forth; the Bible and film (films that seem biblical, like so-called Christ figure or messianic films, only after convincing arguments); and film as Bible (where film functions as some biblical texts do). The most important recent developments in Bible and film, however, are technological advances in delivery systems and niche marketing. These developments, not Gibson’s success alone, appear to be driving the recently renewed interest in biblical films. Now, old films, including silents, and films from more diverse cultural perspectives (e.g., Indian and Islamic biblical films) are available to more people than ever before. While Christian Bibles may still dominate film, one can find other cultural perspectives as well as films or interpretations that challenge “the dominant.”
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Brazil’s Sanctuaries and Sculpture: Rio de Janeiro, São Paulo, and Ouro Preto
Rodrigo Bastos
Some of the main works of religious architecture and sculpture were produced in three important Brazilian cities. All of them were founded in the so-called colonial period, that is, as a territory dominated by the Portuguese Empire. All of them have a very rich historical and artistic heritage, constituting an expressive sample of religious art produced in Brazilian territory. The historical aspects of some of these main works emphasize the theoretical, artistic, and conceptual assumptions contemporary to the period of their construction.
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Buddhism and Media
Scott A. Mitchell
Many approaches to the study of Buddhism and media overlap with traditional Buddhist studies methods such as textual analysis, art theory, ethnography, and ritual studies, as well as studies of material culture. Media studies may concern itself with contemporary media messages and forms, but it need not be limited to the realms of mass media and popular culture. In foregrounding media and material cultural, scholars can trace the development and flow of Buddhism as a global religion and cultural phenomenon. Such studies also invariably draw attention to the lived aspects of the religion: How do Buddhists enact or perform Buddhism? How do Buddhists communicate ideas about Buddhism both to other Buddhists as well as to outsiders? And how do these communicative acts change one’s understanding of Buddhism? Such questions go beyond the merely textual, historical, or philosophical and call us to answer deeper questions about the nature of Buddhism in the contemporary, global age.
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Buddhism in Film
Sharon A. Suh
Film serves as one of the most recent contributions to the variety of Buddhist visual forms that can offer a perspectival shift in interpretation for its viewers akin to other meditative devices such as mandalas. As a relatively recent subject of study, Buddhist films present innovative opportunities to visualize the Buddha, Buddhism, and the self in nuanced ways. Buddhist film can be understood as a spiritual technology that reshapes vision, and the act of viewing becomes a ritual process and contemplative practice. Ranging from films with an explicitly Buddhist theme and content to more abstract films without obvious Buddhist references, Buddhist films have become the subject of scholarly studies of Buddhism as well as occasions to reimagine Buddhism on and off screen. Buddhist films found in Asia and the West have proliferated globally through the rise of international Buddhist film festivals over the past fifteen years that have increased both the interest in Buddhism and the field of Buddhism and film itself. Most studies of Buddhism in film indicate that what constitutes a Buddhist film continually evolves and, as such, can be seen as a contemporary instantiation of the skillful means of the Buddha.
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Buddhist Art and Architecture in Tibet
Erberto Lo Bue
Tibetan Buddhists view images primarily as religious supports and secondarily as works of art. Buddhist images are aimed at improving one’s karma by earning merit in view of future existences, at removing obstacles, and at creating wellbeing. Their commissioning may be occasioned by various circumstances, including illness and death, besides the need for a specific religious practice. Since they are primarily expressions of faith, their age has a limited importance and their originality hardly any: a religious image is valued less for its rarity and aesthetic value than for its apotropaic virtues and for its particular connection with a holy place or master. Hence the application of Western post-Medieval aesthetic criteria to the appreciation of Tibetan art ought to be complemented by an appreciation of the specific religious meaning of an image, the interpretation of its particular symbolism, and the aim of its client within the specific cultural and historical context in which it was produced.
This article is preceded by a historical introduction sketching the development of Buddhist art and architecture in Tibet from the 7th to the present century, mentioning the role played by foreign artists, mostly Newars from the Nepal Valley, and dwelling on particularly significant monuments, such as the monastery of Sàmye (8th century) and the Great Stupa of Gyantsé (15th century), representing the two highest moments in the history of Tibetan religious art and architecture, the Pòtala being basically a fortified palace.
The first section, on Tibetan Buddhist art, deals with iconography and iconometry as well as materials and techniques, contrasting the prevalent approach to the subject by collectors, and even art historians, with that of Buddhist masters and devotees, pointing out the importance of the consecration of images, without which the latter remain worthless from a religious point of view.
The second section, on Tibetan Buddhist architecture, deals with the construction of religious buildings, their materials, their religious functions and their symbolism. Although stupas are referred to throughout the article, they are dealt especially in this section.
Sanskrit terms, whether in phonetic transcription or in transliteration, prevail in the first section because the relevant terminology is largely the Tibetan translation of Indian Buddhist terms, Tibetan terms in phonetic transcription and transliteration prevail in the second section, except in the part dealing with the stupa.
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Buddhist Wall Paintings
Sonya S. Lee
Wall paintings are integral to the built environment of the Buddhist world. Images of deities, celestial spheres, and biographical narratives of all sorts constitute an integral part of Buddhist architecture, serving as the material and conceptual interfaces between art, society, and the ecosystem that link their viewers to the world they live in and realms in their imagination. Buddhist wall paintings are meant to make abstract doctrines and concepts comprehensible through visual means while promoting key moral lessons to devotees in vivid and memorable ways. They provide donors with an opportunity to express piety and accumulate merit for creating a beautiful home for the Buddha that would enable his followers to follow his footsteps and at the same time impress nonbelievers. Though far from a vehicle of individualism, the medium of wall painting challenges artists to be innovative with age-old iconographic formulae and compositional schemes in order to make the tradition anew for their own time and place.
This important artistic medium developed in tandem with the emergence of Buddhism as a world religion during the 1st millennium ce. To underscore the remarkable flexibility that Buddhist concepts and practices exhibited as they were adapted into disparate local cultures, the present study will focus on major sites in the Taklamakan and Gobi Deserts in China to explore the inter- and intraregional connections in the dissemination of Buddhist wall painting across Eurasia.
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Christian Feminist Theology and the Arts
Elizabeth Ursic
Christian theology is the study of God and religious belief based on the Christian Bible and tradition. For over 2,000 years, Christian theologians have been primarily men writing from men’s perspectives and experiences. In the 1960s, women began to study to become theologians when the women’s rights movement opened doors to higher education for women. Beginning in the 1970s and 1980s, female theologians developed Christian feminist theology with a focus on women’s perspectives and experiences. Christian feminist theology seeks to empower women through their Christian faith and supports the equality of women and men based on Christian scripture. “There is no longer Jew or Greek, there is no longer slave or free, there is no longer male and female; for all of you are one in Christ Jesus” (Galatians 3:28). The arts have an important role in Christian feminist theology because a significant way Christians learn about their faith is through the arts, and Christians engage the arts in the practice of their faith.
Christian feminist theology in the visual arts can be found in paintings, sculptures, icons, and liturgical items such as processional crosses. Themes in visual expression include female and feminine imagery of God from the Bible as well as female leaders in the scriptures. Christian feminist theology in performing arts can be found in hymns, prayers, music, liturgies, and rituals. Performative expressions include inclusive language for humanity and God as well as expressions that celebrate Christian women and address women’s life experiences. The field of Christian feminist theology and the arts is vast in terms of types of arts represented and the variety of ways Christianity is practiced around the world. Representing Christian feminist theology with art serves to communicate both visually and performatively that all are one in Christ.
Article
Christian Sacred Architecture
David Bains
Beginning with the Renaissance, the architecture of churches in the West was shaped by new cultural and liturgical demands that reshaped the spaces of Christian worship. Renaissance Christians found models of urban monumentality and geometric harmony in the architecture of classical Rome that they deemed lacking in their existing Gothic forms. At the same time, both Catholics and Protestants placed new emphasis on preaching and on the ability of worshipers to see the liturgy. These factors decisively reshaped church architecture. The rational austerity of the Renaissance, however, soon gave way to the more exuberant decoration of the baroque and, in time, to a revival of the Gothic. Beginning in the late 18th century, it became valued for its association with mystery, organic development, and the endurance of faith amid the rise of scientific rationalism. By the mid-19th century, an eclecticism in architecture had developed where many church builders used varied styles to actualize buildings of many plans in order to bring the desired historical and emotional associations to the structure, or simply to distinguish it from its neighbors. Yet, architectural principles—often associated with the Gothic—that emphasized the integral relation of form, structure, and function led many church builders to embrace architectural modernism. They rejected applied ornament, especially that which hid the structure of the building. Concrete, steel, and glued laminated wood beams made possible new designs often with a minimalist aesthetic and innovative ground plans.
As in the 16th, so in the 20th century this architectural shift was associated with new values and liturgical demands. For many there was a fundamental concern with the architectural expression of the immanence of God. Historical styles and dim light seemed wrongly to suggest that God was not part of the contemporary world. Along with this, liturgical ressourcement fostered throughout the 20th century by the Liturgical Movement and endorsed by the Second Vatican Council championed the idea that liturgy was “the work of the people,” a corporate activity in which all participated. This led to the development of the “modern communal church” as a liturgical form. Many historic buildings were significantly altered. Within thirty years, a sizable revolution was insisting on more traditional, often classical, architectural forms ensuring that future church building would be shaped by a dialogue between tradition and the modern.
Article
Churches, Grand Retables, and Ceiling Paintings in Portugal during the 16th and 17th Centuries
Giuseppina Raggi
Religious and military architecture represented the core of early modern Portuguese architectural and artistic culture. Churches and fortresses are still the main architectural and symbolic landmarks of Portuguese history, closely related to the country’s maritime explorations and its colonial empire. Thus, religious architecture still plays a crucial role in the Portuguese landscape and cultural environment. Foremost among these is the monastery of Jerónimos near Lisbon. Its construction spanned the entire 16th century, yet in the 19th and 20th centuries, historiography fixed its image as an icon of the so-called Manueline style, associating it with the Portuguese maritime power developed during the reign of Manuel I (1495–1521). Since the late 20th century, Portuguese scholars have rethought the vision, challenging the term Manueline and unveiling the manifold artistic and architectural confluences and transformations. This is evidenced by the main chapel’s reconstruction by architect Jerónimo de Ruão in the latter half of the 16th century under the regency of the Queen Catherine of Austria. Her architectural patronage served as a model of patronage for women as the powerful Princess Mary of Portugal, who commissioned the main chapel of the church of Luz, and the very wealthy Simõa Godinha of African birth, who sponsored the current main chapel of the church of Conceição Velha (ex-chapel of Holy Spirit).
The vast religious complex of the Order of Christ, as well as the balanced architecture of the chapel of Our Lady of Immaculate Conception, both situated in Tomar, reflected the circulation in Portugal of 16th-century Italian architectural treatises, which contributed to the cultural renewal of architects as João de Castilho or sculptors as Nicolas Chanterene. The architectural works of Francesco da Cremona in Northern Portugal and of Miguel de Arruda in Évora also spread the Renaissance architectural culture. In the 16th century, monumental portals and grand retables share a similar taste for magnificence and sculpted details, while in the 1580s, the architecture painted on the ceiling of the Jesuit church of Saint Roque in Lisbon was a very disruptive pictorial experimentation.
During the Union of Iberian Crowns (1580–1640/1668), the consolidation of the classicist erudition of Portuguese architects underpinned the building of main churches as São Vicente de Fora in Lisbon or the Jesuit church in Coimbra (after the Jesuits’ expulsion from Portugal in 1759, it was transformed into the New Cathedral). Simultaneously, from the latter half of 16th century through the 17th century, simplified typologies of religious architecture proliferated in both Portugal and its colonial territories. Coined for the first time (1972) by George Kubler as “plain architecture”—rendered in Portuguese as arquitetura chã (1988)—this concept gained significant traction among scholars but was subsequently rethought by José Eduardo Horta Correia. Simplified patterns, the resource economy, and the use of models by Serlio’s treatise characterized a panoply of buildings, from the extensive horizontal mass of the Santa-Clara-a-Nova monastery in Coimbra to the classicist erudition of the chapel of Onze Mil Virgens in Alcácer do Sal, encompassing the five new cathedrals (Leiria, Portalegre, Miranda do Douro, Angra do Heroismo, and Goa) built during this time.
The shift toward Baroque sensibility and culture gradually unfolded within 17th-century Portuguese architectural spaces. On one hand, they maintained exterior sobriety, increasing the opulence of the interior decorations thanks to magnificent gilded wood-carved grand retables and walls covered by azulejos. On the other hand, certain central-plan sacred spaces exhibited externally curved and undulating walls, as seen in the church of Sant’Engracia in Lisbon. It was built by the architect João Antunes, who also was used to designing colored marble retables with Solomonic columns. His art aimed to change the artistic and architectonic Portuguese tradition prevalent up to that time.
Article
Contemporary Visual Art and Religion
Dominic Colonna
Contemporary visual art that uses themes and symbols of particular religious traditions has the potential to alienate both those who are adherents of those traditions and those who are non-adherents. Such art is often characterized as sentimental, superstitious, naïve, exclusivist, or triumphalist by modern standards of judgment. At the same time, efforts to avoid exclusivism or triumphalism in contemporary visual art can render the meanings of works so vague that it is hard to identify a work with any particular religion. For these reasons and more, the art world tends to disparage the benign use of religious themes and symbols in art and tends to accept works that are transgressive—that is, art that transgresses the boundaries of religious decorum.
Material and visual culture studies provide ways for the art world to find value in and analyze the use of religious themes and symbols in contemporary visual art. These approaches have widened the scope of works that might be identified as contemporary visual art: popular, mass-produced, and folk art are all within the purview of analyses of contemporary visual art. These studies examine how religious themes and symbols function in religious communities and in the wider communities of which they are a part. Even when studying the function of visual and material culture within a particular religious tradition, these studies tend to identify common or essential themes in different religions. The contemporary preference for being “spiritual but not religious” emerges in the identification of common religious themes and symbols.
Contemporary theological approaches to the study and appreciation of contemporary visual art are “insider” methods that religious adherents use to assess critically the value of the use of religious themes and symbols in modern culture. These insider methods identify orthodox uses of religious themes and symbols in contemporary visual art, not only to identify negatively that which is unorthodox or heterodox, but also to identify works of art that celebrate religious beliefs, make traditional beliefs relevant, and help to shape new ways of engaging the wider community. Theological methods often incorporate the work of material and visual studies scholars. Like these scholars, theologians seek to affirm the value of unique religious beliefs in an increasingly pluralistic world.
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Conventual Visual Culture in Ecuador
Carmen Fernández-Salvador
Women have been typically excluded from the study of colonial art from Quito, except for a few salient names, among them Isabel de Cisneros, the daughter of celebrated painter Miguel de Santiago. Other than Cisneros, indeed, other women artists did not sign documents such as contracts or testaments. More importantly, the artistic canon has focused on sculpture and painting, and thus women’s artworks, usually described as miniature, has been traditionally deemed as a lesser form of art. Other than Cisneros, however, there is ample evidence that other women engaged in artistic creation. Estefanía de San José Dávalos, a member of the Creole nobility, may have learnt to paint along with other arts such as singing or playing musical instruments. Estefanía entered the convent of El Carmen Moderno in Quito, where she probably continued to practice the art of painting. Sister María de la Merced, from the convent of La Concepción, in Cuenca, signed a painting depicting the Virgin of Mercy, while the Clarise nun Gertrudis de San Ildefonso may have practiced drawing to translate her visionary experiences, as an act of obedience to her confessor. As Estefanía, María de la Merced, and Gertrudis, other nuns silently made many of the anonymous works that are still preserved in nunneries. Artmaking was probably connected to Christian piety and devotion, as it accompanied spiritual exercises. Shaping a conventual visual culture, aesthetic similarities are evidenced between painting and other forms of artistic creation practiced by women, such as embroidery, manuscript illumination and the making of devotional objects.
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Culture, Entertainment, and Religion in America
Randall J. Stephens
Throughout American history, religion and entertainment have influenced each other and have intersected in fascinating ways. Native American rituals and games entertained and inspired. Early white settlers like the Puritans, though defining their faith over and against profane pastimes, engaged in sport, play, and elaborate storytelling. Still, stark contrasts appeared in the 17th and 18th centuries when it came to how Catholics and Protestants in the New World thought of the theater, music, and performance. The evangelical surge in the 18th century brought with it a lively and riveting preaching style—represented by celebrity ministers like George Whitfield and Gilbert Tennent—that faced the ire of their more traditional foes for using “vulgar” methods to reach the masses. In the 19th century, African Americans, in slavery and freedom, expressed their faith in ways that combined religious systems, dancing, and music traditions from Africa and the Americas. Evangelical churches and prominent figures used entertainment to proselytize, illustrate the drama of salvation and damnation, and to enliven services. Temperance, anti-slavery, and other reformist groups employed music, novels, and theater to spread their earnest message. Pentecostals and other evangelicals took up new forms in the 20th century. They eagerly made use of radio, film, and later, television. The well-known evangelist Billy Graham was a skillful pioneer of new media. In the 20th century, Hollywood films drew on Jewish and Catholic themes, as Jewish and Catholic writers, directors, and actors put their stamp on the silver screen. Late 20th and early 21st century combinations of religion and entertainment included Muslim rap music, Christian rock, Jewish folk music, and much more. A great deal of this innovation coincided with the rise of the performance-driven megachurch and the proliferation of religious organizations that catered to athletes and drew on sports imagery and symbols for the cause. In the long sweep of American history, the devout have found new, elaborate ways to draw on popular culture and to entertain as well as enlighten the faithful.
Article
Decorated, Illuminated, and Illustrated Bibles
Jonathan Homrighausen
The earliest extant illustrated biblical manuscripts date to the 5th century, and their descendants continued through the medieval era and into the era of print, including children’s bibles, artists’ books, and comics. The study of this large corpus suggests a wide range of ways in which decorations, images, and other kinds of nontextual visualizations in Bibles generate meaning. Most obviously, biblical illustrations always involve interpretive decisions about biblical narratives. Traditions of visualizing biblical texts also respond to previous artistic representations of that scene or character, as well as textual exegesis; indeed, visual exegesis parallels its textual counterpart in complex ways. Further, decorated and illustrated Bibles often reflect the events of their time, including images of kingship, ecclesiastical concerns, ideologies of gender and ethnicity, and polemics within and between religious communities. Images also serve a wide range of functions: to teach, to accompany preaching, to facilitate memorization of text, and to instill moral and spiritual virtues. Finally, a wide range of nonillustrative features of Bibles create meaning: ornament, word-image interplays, and symbols.
Article
Devotional Art in Viceregal Latin America
Marcus Burke
The art of devotion in colonial Mexico, Central America, and South America—called the “viceregal” period, from the division of the colonies into viceroyalties from 1521 to 1821—arose in the context of reformed Roman Catholicism, especially after the Council of Trent (1545–1563). Devotional images included stand-alone compositions, images from altar ensembles and serial contexts, and works of sculpture that could be the focus of a believer’s pious contemplation or an accompaniment to liturgy. These images document the establishment of the Christian faith and its iconography in the New World, including syncretic elements, principally in the initial decades of colonization and missionization. They embody doctrines and local devotions relating to the Blessed Virgin Mary; the importance of the religious orders to Latin American devotional art; orthodox and heterodox imagery; regional variations; and special iconographies particular to Latin America. The creation of viceregal images was conditioned by issues such as the relative importance of centers of viceregal power versus peripheries, differing ethnic and religious traditions of specific localities, relatively permissive church attitudes toward heterodoxy, and the use of European models.. In the almost exactly three centuries of the viceregal era, artists of the first rank such as Baltasar de Echave Orio, Luis and José Juárez, Alonso López de Herrera, Cristóbal de Villalpando, Juan Rodríguez Juárez, and Miguel Cabrera from Mexico; Bernardo Bitti, Mateo Pérez de Alesio, Angelino Medoro, Baltasar Gavilán, and Bernardo de Legarda from Peru and Ecuador; and O Aleijadinho from Brazil created religious works responding to European stylistic developments but expressing local artistic values even as they nourished an ongoing Roman Catholic devotional life.