In Perceiving God, William Alston briefly suggests the possibility of perceiving God indirectly through the perception of another object. Following recent work by C. Stephen Evans, we argue that Thomas Reid’s notion of “natural signs” helpfully illuminates how people can perceive God indirectly through natural beauty. First, we explain how some natural signs enable what Alston labels “indirect perception.” Second, we explore how certain emotions make it possible to see both beauty and the excellence of the minds behind (...) beauty. Finally, we explain how aesthetic emotions can involve indirect perception of God via the natural sign of natural beauty. (shrink)

When in the sixth century Dionysius the Areopagite declared beauty to be a name for God, he gave birth to something that had long been gestating in the womb of philosophical and theological thought. In doing so, Dionysius makes one of his most pivotal contributions to Christian theological discourse. It is a contribution that is enthusiastically received by the schoolmen of the Middle Ages, and it comes to permeate the thought of scholasticism in a multitude of ways. But perhaps (...) nowhere is the Dionysian influence more pronounced than in the thought of Thomas Aquinas. This book examines both the historical development of beauty's appropriation as a name for God in Dionysius and Thomas, and the various contours of what it means. The argument that emerges from this study is that given the impact that the divine name theological tradition has within the development of Christian theological discourse, beauty as a divine name indicates the way in which beauty is most fundamentally conceived in the Christian theological tradition as a theological theme. As a phenomenon of inquiry, beauty proves itself to be enigmatic and elusive to even the sharpest intellects in the Greek philosophical tradition. When it is absorbed within the Christian theological synthesis, however, its enigmatic content proves to be a powerful resource for theological reasoning. (shrink)

In God, Morality, and Beauty, Randall B. Bush argues that a Trinitarian vision of reality, combined with the disciplines of aesthetics and ethics, is the most satisfactory way to address questions pertaining to the philosophy of value that are currently being debated in the social sciences and humanities.

The four talks collected here transcribe lectures delivered to an audience of children between the ages of ten and fourteen, under the auspices of the little dialogues series at the Montreuil's center for the dramatic arts. Modeled on Walter Benjamin's Aufklrung for Kinderradio talks, this series aims to awaken its young audience to pressing philosophical concerns. Each talk in God, Justice, Love, Beauty explores what is at stake in these topics as essential moments in human experience. (Indeed, the book (...) argues that they are constitutive of human experience.) Following each, Nancy's audience is given a chance to engage with him in a process of philosophical questioning; the texts of these touching and probing exchanges are included in the volume. Despite the fact that these lectures were delivered to an audience of children, the intellectual level they achieve-while remaining easily comprehensible-is astounding. No attempt is made to simplify Nancy's positions or to resolve the complexities that arise in the course of the talks or the question periods that follow. The work of opening performed here is fully in keeping with the strategy of Nancy's philosophy as a whole. Thus, for readers unfamiliar with his work, God, Justice, Love, Beauty will function as an excellent introduction to Nancy's larger corpus. As varied as the individual talks are, they share the motif of incalculability or the immeasurable. Broadly speaking, one could say that the various ways in which Nancy approaches this motif exemplify his deconstructive approach to think of human existence. As well, those treatments exemplify his conviction that the task of thinking is to develop original ways of communicating the incalculable.God, Justice, Love, Beauty is thus a skillful reminder that philosophy is important to all of us. The book is also a model of intellectual generosity and openness. Seamlessly moving from Schwarzenegger to Plato, from Kant, Roland Barthes, and Caravaggio to Caillou, Harry Potter, and the pages of Gala magazine, Nancy's wide-ranging references bear witness to his commitment to think of culturein its broadest sense. (shrink)

This article is transdisciplinary in that it touches on the disciplines of both mathematics and theology. It is about the mysterious link between truth and beauty in mathematics. It uses the theological pattern laid by the practical theologian Bohren in his book, God’s Becoming Beautiful. Mathematics can be seen as science or art. I argue that in both cases, we could conclude that God becomes beautiful in mathematics. This leads to the observation that there is some spirituality in mathematics. (...) This insight might also have practical implications for mathematics education in schools. (shrink)

Rooted in a tradition of thought and spirituality akin to, yet other than, the onto-theology of the Latin West, the aesthetico-theological experience of the Byzantine icon can help articulate aesthetic and numinous elements of our relation to nature that environmental philosophy should no longer ignore. In contrast to the technical mastery of the natural in Western art inaugurated by the Renaissance, itself related to the emerged technological mastery of nature in the late Middle Ages, the iconic sensibility characteristic of the (...) Byzantine East exhibits an experience of materiality common to non-Western humanity, seeing nature as a visible window to the invinsible, a lintel of the holy. A series of correlations between features of iconic seeing and exemplary encounters with the natural environment by prominent naturalists elaborates this thesis, along with examples from the later writings of Dostoevsky, who looked to divine beauty to save the earth. (shrink)

The quintessence of Byzantine faith is the twofold identification of the God-Man. Yet, the image of God Jesus Christ and the transcendent Trinity is a one-God concept. Inevitability, I argue Byzantine aesthetics had to recognize God as both anthropomorphous and divine. Since, omission of God’s divinity would verify God as divisible. In line with apophatic theology, Byzantine aesthetics used non-categorizations and non-identifications, what I denominate meta-images, to teach about God’s divinity and that God is. Since 'holy' equals right manner and (...) right teaching about God , anything else would have been heresy. The desired effect of salvation would come to naught if the image did not concur with 'right opinion' . Contemplation and imitation as well as communion with God depend on aesthetics 'of right belief' . God is Beauty and God is Truth, and vice versa. In context of aesthetics, the idea of beauty refers to potential impetus to restore the natural image in the believer. Beauty identifies in deification , spiritual knowledge of the supreme beauty of God. Beauty does not refer to the perishable, but to the imperishable, not to physical strength and vigor, but to spiritual strength, yearning, and purity. Aesthetic approaches that help believers go beyond physical law to divine law, beyond the corporeal mundane to spiritual knowledge are good and beautiful. Interaction of narration, flattened corporeality, inverted perspectives, and meta-images such as light, brilliance, and patterned borders identifies the twofold reality of God and the historical event within and beyond time and space. This interaction of Incarnation and Grace refers to the Beauty of God, the prerequisite for salvation of humankind. (shrink)

The seventeenth-century Puritan theologian Jonathan Edwards has become popular again in contemporary theological discussion. Central to Edwards' theology is his concept of beauty. Delattre wrote the standard work on this topic half a century ago. However, Delattre approaches Edwards mainly as a philosopher, and he does not address how Edwards employs the concept of beauty to explain and defend traditional Reformed doctrines. Recent writings by McClymond, Holmes, and others have shown that defending the Reformed tradition is a fundamental (...) concern of Edwards. This work reveals how Edwards, starting with the common notion that beauty means the appropriate proportional relationship, develops a theological aesthetic that contributes to a rational understanding of major doctrines such as the Trinity, Christology, and eschatology. It shows that Edwards is both an innovative speculative theologian and a staunch defender of Reformed orthodoxy. (shrink)

Volker Kessler argues two points to Rudolf Bohren’s list of four areas where God becomes beautiful should be extended with a fifth one: mathematics and mathematics can be argued as a place where God becomes beautiful. In this response, we would like to argue that the extension of Bohren’s list that Kessler argues in favour of is superfluous and that Kessler makes a number of questionable assumptions about mathematics. By arguing against Kessler, we intend to make an interdisciplinary contribution to (...) the discussion about the relationship between mathematics and theology by pushing the debate into direction of a more careful consideration of mathematics as an area in which God’s beauty may become apparent.Contribution: Contributing to the interdisciplinary exploration of theology in HTS Teologiese Studies/Theological Studies, this article further develops the consideration of the fundamental theological topic of God, the beautiful and mathematics as it was proposed in this journal by Volker Kessler, by discussing it from a systematic theological and mathematical perspective. (shrink)

Some recent philosophers of religion have argued that no divine attribute sufficiently grounds an obligation to worship God. I argue that divine beauty grounds this obligation. This claim is immune to the objections that have been raised to claims that other divine attributes ground this obligation, and can be upheld even if, for the sake of argument, those objections are granted. First, I give an account of what worship is. Second, I consider reasons for and against the claims that (...) the obligation to worship is rooted in God’s having created us, God’s being our final end and lawgiver, God’s numinousness, and God’s goodness. Finally, I show how divine beauty grounds the obligation to worship, by drawing together accounts of beauty from Thomas Aquinas, Dietrich von Hildebrand, Plato, Aristotle, and others. (shrink)

Some recent philosophers of religion have argued that no divine attribute sufficiently grounds an obligation to worship God. I argue that divine beauty grounds this obligation. This claim is immune to the objections that have been raised to claims that other divine attributes ground this obligation, and can be upheld even if, for the sake of argument, those objections are granted. First, I give an account of what worship is. Second, I consider reasons for and against the claims that (...) the obligation to worship is rooted in God’s having created us, God’s being our final end and lawgiver, God’s numinousness, and God’s goodness. Finally, I show how divine beauty grounds the obligation to worship, by drawing together accounts of beauty from Thomas Aquinas, Dietrich von Hildebrand, Plato, Aristotle, and others. (shrink)

This winsome and accessible apologetics book for a new generation makes the case that Christianity offers a compelling explanatory framework for making sense of our world.

In this paper, we present an abductive argument for the existence of God from the experience of awe at natural beauty. If God’s creative work is a viable explanation for why we experience awe at natural beauty, and there is no satisfactory naturalistic explanation for the origins of such experiences, then we have defeasible evidence that God exists. To evaluate the argument's tenability, we assess the merits of the two main naturalistic frameworks that can be marshaled to answer (...) the question of why human beings experience awe at natural beauty, Wilson's biophilia hypothesis, and Keltner and Haidt's prototype approach to awe. We show shortcomings of both accounts in explaining the relevant experiences and argue that the reliance of these accounts on an adaptationist reading of our aesthetic appreciation of nature entails a commitment to questionable hidden premises: that affordances themselves can figure in the subject's perceptual experience, and that experiences of awe have adaptive value. We maintain that the argument's “empirical” premise is tenable and conclude with directions for future research regarding the argument's “theological” premise. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

In this paper I explore the relationship between the idea of possible worlds and the notion of the beauty of God. I argue that there is a clear contradiction between the idea that God is utterly and completely beautiful on the one hand and the notion that He contains within himself all possible worlds on the other. Since some of the possible worlds residing in the mind of the deity are ugly, their presence seems to compromise God's complete and (...) utter beauty. (shrink)

In a recent article Mark Ian Thomas Robson argues that there is a clear contradiction between the view that possible worlds are a part of God's nature and the theologically pivotal, but philosophically neglected, claim that God is perfectly beautiful. In this article I show that Robson's argument depends on several key assumptions that he fails to justify and as such that there is reason to doubt the soundness of his argument. I also demonstrate that if Robson's argument were sound (...) then this would be a problem for all classical theists and not just those who hold the possible worlds view. (shrink)

In this book, Richard Viladesau contrues Christian theology as a "theological aesthetics". He examines Christian revelation and its presuppositions in relationship to three interconnected meanings of the "aesthetic" in modern thought: human cognition as feeling and imagination; the realm of the beautiful; and the arts. In each area, examples from the arts are correlated with classical and contemporary theological themes.

Eminent theologians John Milbank, Graham Ward, and Edith Wyschogrod discuss aesthetics, placing radical orthodoxy in dialogue with postmodern theology.

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural (...) phenomena. Third, the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence. (shrink)

Art, beauty, and the voice of God. And what of beauty?

For Dietrich von Hildebrand beauty invites us to transcendence and leads us before the face of God, or in conspectu Dei. In order to elucidate what this means attention will be focused first on the objective importance of beauty, which carries with it according to von Hildebrand a message such that it speaks to us. The meaning of beauty as a “word” needs to be grounded in a metaphysics of the Logos which is in fact Light and (...) Beauty, making everything a participant in its light and beauty. If beauty as that which is important in itself or as value speaks to us, then a response is needed on our part, but responses to beauty can vary as von Hildebrand indicates in distinguishing between appropriate and inappropriate responses; why this is so will occupy briefly the second part of this paper. And lastly, the “call” of beauty to us is related to the final perfection of the human person, where true identity is achieved and where we will at last stand before the face of God. (shrink)

The chief aim of this article is to show that St. Thomas Aquinas’s Fourth Way of demonstrating God’s existence can only be made precisely intelligible by comprehending it as a real, generic whole in light of its specific organizational principles. Considered as a real, generic whole, this argument is one from effect to cause (from a real order of more or less perfectly existing generic, specific, and individual beings [habens esse] more or less perfectly possessing generic, specific, and individual ways (...) of being within qualitatively different, hierarchical, orders of existence to a first cause of this order of perfections). In addition, this article maintains that, to comprehend this complicated argument, readers mush be familiar with philosophical principles that St. Thomas repeatedly uses throughout his major works, but with which most of his contemporary students tend to be unfamiliar. Consequently, a secondary aim of this paper is to introduce readers unfamiliar with them to some of these principle so that they may be able better to comprehend what St. Thomas is saying in this demonstration and in other teachings of his as well. (shrink)

In various philosophical, religious and mystical traditions, beauty is often related to intellectual upliftment and spiritual ascent, which suggests that besides its common aesthetic value it may also acquire an epistemic, metaphysical and spiritual meaning or value. I will examine in detail three accounts in which beauty, at times inseparable from desire and love, mediates between physical, intellectual and spiritual levels of existence. Since beauty, in all three accounts, takes on a mediatory role or function,1 I will (...) name these mediations as follows: ancient Greek Eros-mediation or Beauty-mediation (Plato: ca. 429-347 BCE), late medieval Italian Beauty and Love-mediation (Dante Alighieri: 1265-1321) and pre-modern Indian Beauty and Love-mediation (Rūpa Gosvāmi: 1470/90-1564 CE).2 In the first section, I will analyse the stages of Eros or Beauty mediation in Plato; in the second section, I will turn to Dante’s Beauty and Love-mediation and compare it with Plato’s account. In the third section, I will analyse Rūpa’s account of Beauty and Love-mediation in comparison with both Plato and Dante. I will argue that there are certain patterns of mediation mutually shared if not between all three accounts, then at least between two of them. While Plato’s account clearly influenced Dante and was well integrated into Dante’s account, there is no mention or evidence of a pre-modern Bengali theologian influenced by ancient Greek and medieval Italian philosophy and mysticism. However, a strong convergence of elements of Beauty-mediations in Plato and Dante, as well as Beauty and Love-mediations in Dante and Rūpa Gosvāmi, confirms the universality of certain features of Beauty and Love-mediation and speaks in support of an all-inclusive account of them.3 -/- 1 By Beauty-mediation I mean an aesthetic, intellectual or spiritual reconciliation between opposites, such as human and divine, mortal and immortal, particular and universal, sexual and sacred and so on. 2 Rūpa Gosvāmi was an Indian theologian. More information about him is provided in section 3. 3 I am here applying transitivity: if Plato’s account (A) shares elements with Dante’s account (B) and if Dante’s account (B) shares those same elements with Rūpa’s account (C), then Plato’s (A) and Rūpa’s (C) accounts share some elements as well. Obviously, all accounts have some different elements not mutually shared, but I will not deal with them here. (shrink)

In the scope of Medieval Metaphysics, «beauty» has been pondered as an ambiguous concept: either attributed to God, or to the World. The aim of this article is to clarify the meaning of this ambiguity within the philosophy of the Pseudo-Dionysius the Areopagite. If, therefore, the concept of «beauty» is primarily withdrawn from its sensible and mundane feature in order to be appropriated to the divine nature, it is secondly apposed to creation itself so that it may designate (...) the visible manifestation of transcendent beauty and vital call to theological pursuit.No contexto da Metafísica Medieval, a «beleza» foi pensada como um conceito ambíguo: ora atribuído a Deus, ora atribuído ao Mundo. O propósito deste artigo é clarificar o sentido desta ambiguidade no âmbito da filosofia do Pseudo-Dionísio Areopagita. Se, portanto, o conceito de «beleza» é, em primeiro lugar, despojado do seu carácter sensível e mundano, para ser apropriado à natureza divina, ele é, num segundo momento, aposto à própria criação, de forma a designar a manifestação visível da beleza transcendente e o chamamento vital para a perscrutação teológica. (shrink)

God and Goodness takes the experience of value as a starting point for natural theology. Mark Wynn argues that theism offers our best understanding of the goodness of the world, especially its beauty and openness to the development of richer and more complex material forms. We also see that the world's goodness calls for a moral response: commitment to the goodness of the world represents a natural extension of the trust to which we aspire in our dealings with human (...) beings. (shrink)

This paper deals with beauty as we encounter it in Christian works of art. Three main points are argued: i) Beauty, as it appears in the Christian work of art, is an invitation to delight and gratitude; ii) Beauty, as we encounter it in the Christian work of art, asks of us both the deepening of discernment and the cultivation of desire; iii) Beauty, as it is manifested in the Christian work of art, is not created (...) by the artist but is bestowed as a gift of God. Firstly, beauty must be recognised as giving delight. In defending this claim, the paper argues against theories which identify beauty with pleasure, and which devalue or dismiss beauty based on this false identification. Further, beauty does not only give, but also – as gift – makes a claim upon us. Gratitude is the appropriate response to beauty’s gift. Secondly, beauty as manifested in beautiful particulars embedded in the material and cultural world requires discernment. Moreover, we must embody a real receptiveness to beauty – by becoming beautiful ourselves – through the cultivation of desire. A full response to beauty entails the reorientation of our vision as well as our volition towards the infinite beauty of God. Thirdly, though beauty is manifestly present in made-made objects, it does so and is so as a gift of God. This understanding is supported by emphasising the Trinitarian nature of beauty. It is proposed that beauty is best identified not with the Son but with the Holy Spirit. (shrink)

This is a comprehensive, integrated account of eighteenth and early nineteenth century German figurative aesthetics. The author focuses on the theologically-minded discourse on the visual arts that unfolded in Germany, circa 1754-1828, to critique the assumption that German romanticism and idealism pursued a formalist worship of beauty and of unbridled artistic autonomy. This book foregrounds what the author terms an "Aesthetics of Figurative Theo humanism". It begins with the sculptural aesthetics of Johann Joachim Winckelmann and Gottfried Herder before moving (...) on to Karl Philipp Moritz, Wilhelm Heinrich Wackenroder and Friedrich Schelling. The reader will discover how this aesthetic tradition, after an initial obsession with classical sculpture, chose painting as the medium more suited to the modern self's exploration of transcendence. This paradigm-shift is traced in the aesthetic discourse of Friedrich Schlegel and Georg Wilhelm Friedrich Hegel. In this work, the widespread prejudice that such aesthetics initiated a so-called "Modern Grand Narrative of the Arts" is deconstructed. One accusation directed at 18th century aesthetics has been that it realised into "Art" what had previously been a living, rich tissue of meaning: this work shows how Figurative Theo humanism's attention to aesthetic values was never detached from deeper theological and humanistic considerations. Furthermore, it argues that this aesthetic discourse never forgot that it emerged from modern disenchantment-far from occluding the dimension of secularization, it draws poignant meaning from it. Anyone with an interest in the current debates about the scope and nature of aesthetics (philosophers of art, theology, or religion) will find this book of great interest and assistance. (shrink)

This paper deals with beauty as we encounter it in Christian works of art. Three main points are argued: i) Beauty, as it appears in the Christian work of art, is an invitation to delight and gratitude; ii) Beauty, as we encounter it in the Christian work of art, asks of us both the deepening of discernment and the cultivation of desire; iii) Beauty, as it is manifested in the Christian work of art, is not created (...) by the artist but is bestowed as a gift of God. Firstly, beauty must be recognised as giving delight. In defending this claim, the paper argues against theories which identify beauty with pleasure, and which devalue or dismiss beauty based on this false identification. Further, beauty does not only give, but also – as gift – makes a claim upon us. Gratitude is the appropriate response to beauty’s gift. Secondly, beauty as manifested in beautiful particulars embedded in the material and cultural world requires discernment. Moreover, we must embody a real receptiveness to beauty – by becoming beautiful ourselves – through the cultivation of desire. A full response to beauty entails the reorientation of our vision as well as our volition towards the infinite beauty of God. Thirdly, though beauty is manifestly present in made-made objects, it does so and is so as a gift of God. This understanding is supported by emphasising the Trinitarian nature of beauty. It is proposed that beauty is best identified not with the Son but with the Holy Spirit. (shrink)

This chapter contains sections titled: Sources and Arguments Problems and Issues Some Suggestions Works cited.

Some versions of the doctrine of divine simplicity imply that God lacks really differentiated parts. I present a new argument against these views based on divine beauty. The argument proceeds as follows: God is beautiful. If God is beautiful, then this beauty arises from some structure. If God’s beauty arises from a structure, then God possesses really differentiated parts. If these premises are true, then divine simplicity is false. I argue for each of the argument’s premises and (...) defend it against objections, including an objection based on analogical predication, and an objection that supposes that God is simple while appearing complex. (shrink)

This book begins with a careful taxonomy of divine attributes. It continues with detailed examinations of: divine infinity; divine simplicity; divine perfection; divine necessity; omnipotence; omniscience; divine goodness; divine beauty; divine fundamentality; divine will; divine freedom; etc.