Christian worship is an inherently visual event. Both the setting and the actions of worship need to be seen as well as heard. The visual dimensions of worship are important on several levels. Some visual components are functional, such as fonts, tables, and pulpits. They each serve the most essential actions of worship, proclamation, and sacramental celebration. Others are simply part of the environment of worship. Stained glass windows, flowers, and banners all affect the spirit of...
The history of the visual arts in worship can be traced from biblical times to the present. The twentieth century has witnessed a virtual explosion of the visual arts in worship. Understanding the use of visual arts in the past helps us understand their proper use today.
Christians have responded to various art forms in many ways over the centuries. Four typical responses are described in this article. These approaches to art in general necessarily influence how the Christian community approaches the visual arts in worship.
Of all the theologians and church leaders who are cited as being opposed to the use of visual arts in worship, Protestant Reformer John Calvin is perhaps the most famous. The following article describes the cultural context in which Calvin worked and the specific nature of his views on the visual arts in worship, suggesting that Calvin was more concerned with confronting idolatry than with opposing the visual arts in worship.
In the midst of poverty and starvation, Christian faith and native talent in Africa are inspiring a wealth of art for worship. This art is one means by which African Christians express their faith while borrowing from their indigenous cultures.
The aesthetic dimensions of Christian worship encompass not only written liturgies and rubrics, but also the ways in which the liturgy is brought to life. This article addresses the rich and varied ways that these aesthetic dimensions are realized, including the liturgical expressions of time and space, the visual and the aural, the cognitive and emotional, the eternal and the culture-bound.
Symbols are a primary means by which the truth of the gospel is communicated. They communicate to us through all our senses and on many levels, to our thinking and our feeling, our memory and our imagination. Further, symbolic language serves to unite Christians, giving them a common reference point and experience that transcends divisions within the Christian community.
Symbols, including liturgical symbols, communicate to us on many levels. This article explores the profound nature of symbolic communication, based on the approach of scholar Paul Ricoeur, and offers suggestions for how liturgical symbols can be made to speak more clearly and profoundly.
The following article describes how visual and verbal elements have been used throughout the history of the church, noting how the modern church has not allowed visual elements to have a significant role in worship. It goes on to describe how the visual arts can be revived and how we can learn to communicate and receive theological truths through the visual arts.
Traditionally, Anabaptists have been wary of the visual arts in worship. This article, however, observes that modern culture presents unique challenges that were not present during the early Anabaptist opposition to the arts and that can be met by artists. Thus, the article calls for a union of art and ethics and a dual concern for both the transcendent and immanent, resulting in an intentional and imaginative use of the visual arts in worship.
The Presbyterian Directory of Worship provides authority and guidance for artists and liturgists who desire to proclaim the gospel through various art forms. This article describes this document and imagines new possibilities for the role of the arts in Reformed worship.
Art is a gift from God. The Bible itself records many examples of the arts. Written by a leading mime artist in the charismatic community, this article defends the importance of the arts for the Christian life and in Christian worship.
The arts in worship are never to dominate, intrude, or distract. They serve the action of worship and act as vehicles through which a communication between human beings and God takes place.
Art for worship must evidence not only aesthetic integrity but also fidelity to Christian truths. Specifically, liturgical art should reflect the theology and character of the worship that is enacted in the local congregation. The following article explains these claims and describes two examples of how they have been put into practice.
When we think of prayer, we probably think of words that we speak, sing, or read. Yet human communication happens as much through nonverbal means as through verbal ones. This article probes the nature and influence of nonverbal communication and argues that it should be intentionally employed in worship.
This statement is the result of the cooperative effort on the part of the Federation of Diocesan Liturgical Commissions and the Bishops' Committee of the Roman Catholic Church. It addresses both theological and practical considerations regarding almost every aspect of the visual arts in worship.
This statement is the result of the cooperative effort on the part of the Federation of Diocesan Liturgical Commissions and the Bishops' Committee of the Roman Catholic Church. It addresses both theological and practical considerations regarding almost every aspect of the visual arts in worship.