This article attempts to define what an artist’s ‘interior promptings’ or inspirations are and to understand the role of the Holy Spirit in artistic inspiration and discernment. In so doing, divine inspiration is defined broadly so as to make room for artistic inspiration. This article also considers how the Holy Spirit influences human imaginations through experience and how inspirations are derived from these experiences. Different ways to understand religious and cultural worldviews are also examined. The concept of ‘seeing’ is considered to understand the Pentecostal agenda as attempting to cause a transformative paradigm shift in a person’s worldview. Finally, this article engages in dialogue with Pentecostal theologian Amos Yong in order to look at spiritual discernment and answer the question, ‘Does the Holy Spirit inspire art in other religious or secular traditions?’
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Franco Mormando, ‘Of Clowns and Christian Conscience: The Art of Georges Rouault’, America: The National Catholic Weekly (2008), pp. 18–20 (19).
Millard Erickson, Christian Theology (Grand Rapids, MI: Baker Academic, 2nd edn, 1998), p. 225.
John Dewey, Art as Experience (New York, NY: Penguin Group, 1934), p. 69.
Patrick Sherry, Spirit and Beauty: An Introduction to Theological Aesthetics (London, UK: SCM Press, 2nd edn, 2002), p. 100.
Mark David Garberich, The Nature of Inspiration in Artistic Creativity (Ann Arbor, MI: ProQuest, 2009), p. 70.
James K.A. Smith, Desiring the Kingdom: Worship, Worldview, and Cultural Formation (Grand Rapids, MI: Baker Academics, 2009), p. 57.
James K.A. Smith, Thinking in Tongues: Pentecostal Contributions to Christian Philosophy (Grand Rapids, MI: Eerdmans, 2010), p. 83.
Amos Yong, Discerning the Spirit(s): A Pentecostal-Charismatic Contribution to Christian Theology of Religions (Sheffield, UK: Sheffield Academic Press, 2000), p. 102.
Peter Althouse, ‘Toward a Theological Understanding of the Pentecostal Appeal to Experience’, Journal of Ecumenical Studies 38 4 (Fall 2001), pp. 1–13 (1).
David Morgan, The Sacred Gaze: Religious Visual Culture in Theory and Practice (Berkeley, CA: University of California Press, 2005), pp. 11–12.
John Calvin, The Institutes of Christian Religion (ed. John T. McNeill; trans. Ford Lewis Battles; Philadelphia, PA: Westminster Press, 1975), I, p. 109.
William Dyrness, Reformed Theology and Visual Culture: The Protestant Imagination from Calvin to Edwards, (Cambridge, UK: Cambridge University Press, 2004), p. 65.
S. Brent Plate (ed.), Religion, Art, & Visual Culture: A Cross-Cultural Reader (New York, NY: Palgrave Macmillan, 2002), p. 6.
Makoto Fujimura, Refractions: A Journey of Faith, Art, and Culture (Colorado Springs, CO: NavPress, 2009), p. 39.
Peter Althouse, Spirit of the Last Days: Pentecostal Eschatology in Conversation with Jürgen Moltmann (London, UK: T & T Clark, 2003), p. 195.
John Berger, The Success and Failure of Picasso (New York: Vintage International, 1993), p. 172.
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This article attempts to define what an artist’s ‘interior promptings’ or inspirations are and to understand the role of the Holy Spirit in artistic inspiration and discernment. In so doing, divine inspiration is defined broadly so as to make room for artistic inspiration. This article also considers how the Holy Spirit influences human imaginations through experience and how inspirations are derived from these experiences. Different ways to understand religious and cultural worldviews are also examined. The concept of ‘seeing’ is considered to understand the Pentecostal agenda as attempting to cause a transformative paradigm shift in a person’s worldview. Finally, this article engages in dialogue with Pentecostal theologian Amos Yong in order to look at spiritual discernment and answer the question, ‘Does the Holy Spirit inspire art in other religious or secular traditions?’
All Time | Past Year | Past 30 Days | |
---|---|---|---|
Abstract Views | 223 | 31 | 2 |
Full Text Views | 192 | 1 | 0 |
PDF Views & Downloads | 43 | 5 | 0 |