Apart from the work of God in creation, it's notoriously difficult to explain the presence of beauty in the world and man's appreciation for it. Indeed, the aesthetic realm (with its array of phenomena which engage the senses, the mind, and the heart) not only suits the biblical account of the universe, but also points toward it. In making this case, sixteen writers address the shortcomings of naturalistic narratives, the virtues of theistic accounts (particularly those grounded in Christ), and the manner in which the various arts resonate with Scripture. Along the way, readers will encounter the peacock's tail and Farnsworth House; a Schubert piano sonata and "chopsticks"; Kintsugi and Kitsch; Hugh of St. Victor and Hans Urs von Balthasar; Kandinsky and Eisenstein; the Lydian and Phrygian modes; eucatastrophe and liminal space; McDonald's and Don Quixote; Smeagol and the Blobfish; Stockhausen and Begbie; Adorno and Kinkade; Mount Auburn Cemetery and Narnia; Fujimura and Schopenhauer.

Nearly everyone finds beauty compelling, so Christian apologists should devise ways to present an "aesthetic Christian apologetic." Nearly all apologists admit that the beauty of a life well lived and the beauty of the Christian community (along with the use of media and the arts) are not only helpful for apologetics but essential in a postmodern culture. In fact, it is frustrating to see how many apologists mention the need for such an approach but go on devoting most of their energies to traditional approaches. This book is different. It clearly shows the pros and cons of traditional approaches and offers a fresh perspective as well, arguing that beauty is the most compelling apologetic, and suggesting ways to implement such an approach. It demonstrates how Western culture arrived in its current unfortunate situation and uses both Scripture and figures like Athenagoras and Jonathan Edwards to challenge current views on apologetics.

Why is God's beauty often absent from our theology? Rarely do theologians take up the theme of God's beauty—even more rarely do they consider how God's beauty should shape the task of theology itself. But the psalmist says that the heart of the believer's desire is to behold the beauty of the Lord. In The Beauty of the Lord, Jonathan King restores aesthetics as not merely a valid lens for theological reflection, but an essential one. Jesus, our incarnate Redeemer, displays the Triune God's beauty in his actions and person, from creation to final consummation. How can and should theology better reflect this unveiled beauty? The Beauty of the Lord is a renewal of a truly aesthetic theology and a properly theological aesthetics.

Whether we interpret Scripture or culture, it matters what we do, not just what we think or feel. How do we live with our interpretation, and how do we live it out? This book helps us understand how culture forms us as political actors, moves us aesthetically, shapes the rhythms of our lives, and connects (or disconnects) us from God and neighbors we are called to love. The goal is to be equipped to engage culture with greater fluency and fidelity in response to the triune God. This short, accessible introduction to the conversation between theology and culture offers a patient, thoughtful, and theologically attuned approach to cultural discernment. It helps us grow our interpretive skill by training our intuition and giving us a slower, more deliberate approach that accounts for as much of the complexity of culture as possible. The book explores 5 dimensions of culture--meaning, power, morality, religion, and aesthetic--and shows how each needs the others and all need theology. Each chapter includes distinctive practices for spiritual formation and practical application. Foreword by Kevin J. Vanhoozer.

This book explores the role of aesthetic experience in our perception and understanding of the holy. Richard Viladesau's goal is to articulate a theology of revelation, examined in relation to three principal dimensions of the aesthetic realm: feeling and imagination; beauty (or taste); and the arts. After briefly considering ways in which theology itself can be imaginative or beautiful, Viladesau concentrates on the theological significance of aesthetic data provided by each of the three major spheres of aesthetic perception and response. Throughout the work, the underlying question is how each of these spheres serves as a source (however ambiguous) of revelation. Although he frames much of his argument in terms of Catholic theology--from the Church Fathers to Karl Rahner, Hans urs von Balthasar, Bernard Lonergan, and David Tracy--Viladesau also makes extensive use of ideas from the Protestant theologian of the arts Gerardus van der Leeuw, and draws insights from such diverse thinkers as Hans Goerg Gadamer, Wolfhart Pannenberg, and Iris Murdoch. His analysis is enlivened by the artistic examples he selects: the music of Mozart as contemplated by Karl Barth, Schoenbergs opera Moses und Aron, the sculptures of Chartres Cathedral, poems by Rilke and Michelangelo, and many others. What emerges from this study is what Viladeseau terms a transcendental theology of aesthetics. In Thomistic terms, he finds that beauty is not only a perfection but a transcendental. That is, any instance of beauty, rightly perceived and rightly understood, can be seen to imply divinely beautiful things as well. In other words, Viladesau argues, God is the absolute and necessary condition for the possibility of beauty.

Postmodern challenges to the reliability of Christian belief have left many pastors and theologians wondering whether Christian belief should be rationally defended at all. Gibbs investigates this possibility by a case study of postmodern theologian George Lindbeck. Lindbeck's modern classic, The Nature of Doctrine, is a prime example of theology that is both faithful to the church and highly critical of modern conceptions of faith and reason. Gibbs's careful analysis of Lindbeck shows a way forward that embraces Christian apologetics, while transforming it to answer postmodern criticisms of modern apologetics. The result is a sure confidence that the truth of Christian belief is reasonable, even if not able to be proven. Not only is Christian truth shown reliable, Gibbs argues that apologists can and should defend the reliability of the Christian narrative as the most beautiful and good account of the world as well. Apologetics after Lindbeck is a transformation of apologetics that calls the church to faithfully form Christians who can tell a beautiful, good, and true story of the grace of Jesus Christ.

This collection of papers and other materials from English philosopher Peter S. Williams develops a holistic vision for Christian apologetics centered around a biblical understanding of spirituality. Grounded in two decades of practical experience, here is a vision of apologetics that’s interested in communicating through beauty and goodness as well as logic and arguments.