the literate population (Richard Wang 2004). Yuming He’s analysis of the print circulation of classical texts in pictorial, textual, and hybrid formats among the Ming elite and non-elite clearly demonstrates that parody, play, and subversion were all prevalent (He 2013).
As the elite and common folk
, while the former has remained committed to theology” (Detweiler/Jasper 2000, 2). Yet even in Britain, as a “hybrid venture,” the literature-and-theology project in Elisabeth Jay’s words “boasts no unassailable pedigree, or universally acknowledged territory” (in Hass/Jasper/Jay 2007, 3). And as F. W
elegant challenge to the notion that one can simply refer to ‘Holocaust art’ as a subset of artist-identity-defined ‘Jewish art.’ Different definitional borders arise with Tel Aviv-born (b. 1951), Los Angeles-based Dorit Cypis’ 1998 Hybrid Eyes photographic series, an eerie play on re-visioning familiar
What is Protestant Art? offers a brief introduction to the field of Protestant visual culture. It argues that the diversity of images and visual practices throughout Protestant history might better be described by the term ‘visual culture’ than the term ‘art.’ Examining images from the Reformation to the twentieth century, this review essay showcases the breadth of ways Protestants have put images to work in their religious practices. Containing dozens of illustrations, What is Protestant Art? provides the reader with an overview of current research on Protestant visual culture, as well as discussions of representative examples from five hundred years of Protestant imagery.