A Christian critique of art: Two lectures given at the Unionville Study Conference of the Association for Reformed Scientific Studies on August 28 – 30, by Calvin Seerveld edited by John H. Kok. $ US; pages; paperback; ISBN / Discussion of human imaginativity, of ordinary. Calvin Seerveld (b. in New York), professor Emeritus in Aesthetics at the Institute for Christian Studies (ICS), Toronto, received an MA in English literature .

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Perhaps the closest he comes is his passing remark that skill is properly basic in art. It would seem the only way to falsify the testimony of our faculties to these realities is to step outside ourselves—which is impossible. Discussion on how to put the original biblical languages into a current idiom so anybody today can hear God speak.

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My strategy throughout is overtly theological. If I have a feeling that a work of art is sublime, but there is no such thing as sublimity, then my faculties communicate the existence of something that does not exist. The aesthetic is part of the fabric of created reality, and aesthetic norms can be violated or ignored only at great cost. Ideal to dip into and return to again and again, these devotions will challenge your assumptions about God and the Christian life and encourage you to stretch towards Seervepd in faith.

In light of the foregoing, I am inclined to think the best reading is a combination of the three. Click to play a short QuickTime clip. Amazon Restaurants Food delivery from local restaurants.

Calvin Seerveld – Faculty, Institute for Christian Studies

Is the staggering imaginative bang worth the buck of resources spent? AmazonGlobal Ship Orders Internationally. This last point raises one last feature of the Augustinian worldview worth considering, to wit, the notion of final cause. I will employ core philosophical and theological insights from the Augustinian tradition in order to argue for objective values in art, and, in light of how such values are grounded, arrive at an answer to the question of Christian stewardship. Murray Krieger, Arts on the Level: His book Rainbows for a Fallen World has influenced many Christian artists.


In the truest sense, it is entrusted to us, and we ought to use it for the glory of God—our source and telos. Endnotes should be used and must be in to other more suitable publications.

More important, however, are the ramifications for my faculties. The end result is far beyond the abilities of a single individual, and its purpose is to elevate onlookers to God. To the contrary, the foregoing guards against this error. One mandate he did not mention is how we treat the foreigner.

Calvin Seerveld

Photo by Calvin Seerveld. Much like a game, the rules might have been different, and they are sedrveld to change. In that story some contemporary art looks pretty small. Yet, rarely does Seerveld speak like a realist.

A in English literature and classics from the University of Michigan in Imaging God in the Modern World. Original, fresh translations of Older and New Testament biblical psalms, highlighting the rough and tender tenor of God’s voice to us today. The study sions unless otherwise noted. I am still intent on placing somewhere its powerful artistic, ambiguous symbolific testimony to the atrocities we followers of Christ are allowing to happen so that the theologians, realist philosophers, aestheticians, and the simple people laos, laity Jesus particularly loved, will not pass by in the fast-lane side of the road on the way to their Crystal Cathedral, but shall stop in their tracks indeed, aghast!

If no satisfactory answer can be given, we are left to either embrace the testimony of our higher faculties, as Origen commends, or accept perpetual skepticism.

Views Read Edit View history. The views expressed by the authors are their own and are not attributable to the editor, the editorial board, or the Acton Institute. Schema for a cartographic methodology for doing art history, demonstrated with critique of the art of Watteau, Hogarth, Mengs, Peter S. Seervels contrast, his encounter with the sublime beauty of high-classical artwork is not disorienting because these are grounded in the real to which all have access and in which all are invited to participate.


Diverse lectures and articles not available elsewhere on the topics of art, education, daily working life, philosophical matters, reading the Bible. Stewardship is only one of the mesh of many concomitant norms an artist grapples with in seerveld his or her profes- sional or amateur calvni activity.

He is also the Don C. Low to High Price: Stephanie Martin directs Pax Christi Chorale singers to illustrate a lecture given by Calvin Seerveld which traces how Gregorian chant mutates via Savonarola’s laude and Luther’s geistliche Lieder into Genevan Psalm singing by God’s people. A photographer may cultivate skills conducive to his craft and display all manner of excellence, but if these skills are used for pornography, his craft is corrupt.

Amid these conditions is a threefold ambiguity, to wit, Seerveld a does not explain from whence these conditions come or how they seedveld grounded; b whether these conditions must be met by the artwork, the artist, or both; and c whether these conditions, when met, constitute real properties of that by which they are met.

On this reading, Calvim and I share a common foundation realism but differ in emphasis: Thus, objective values can gain an initial entry into the artistic sphere via the moral sphere.

It goes without saying that financing of art is an invaluable resource to the Christian artist.