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different chromatic range. Instead of the luminous contrasts and sensuousness, we have a more reductive but nonetheless visceral palette of dark reds, maroons, browns, and blacks. IV . The Sublime in Rothko One way of approaching the abstract work from the 1950s onwards, which contributes

In: Religion and the Arts

longer spiritual foundation. Maroon culture in Suriname, sacred geometry in the Islamic world, calligraphy in China, and Aboriginal visual languages in Australia, Canada, and the United States all refuse to be understood from a binary distinction between religion and the secular. A postsecular approach

In: Brill Research Perspectives in Religion and the Arts