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The art of the three Abrahamic religions—Christianity, Judaism, and Islam—has a tangled, interwoven history. Symbols cross back and forth among the three faiths, adapted to reflect that faith's specific spiritual needs. And much of this symbolic language predates any of the Abrahamic faiths entirely.In Our Sacred Signs, Ori Soltes traces the interconnectedness of religious symbols such as the Star of David, which isn't, it turns out, exclusive to Judaism at all. He shows that the various ways that Jesus is portrayed on the cross recall an artistic tradition that is in no way unique to Christianity. And he shows that religious architectural conventions as simple as the dome represent early "pagan" traditions.The narrative—essentially a series of overlapping stories—moves through the halls of museums and off to the holy sites of the three religions, tracing the millennia-long artistic trail that has endured even as the West moved toward secularization in the last three hundred years.Soltes shows us how art has long been used as an instrument to take us where words cannot follow. Our Sacred Signs is a breathtaking and revelatory journey through human history, its gods, and its art.
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
| WonderClub |
Dennis Donnelly
reviewed Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source on September 16, 2011 Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source
The only reason I gave this 3 instead of 4 stars is because it's seriously philosophically-theoretically wonky. It is not for the faint of mind--but if you stick with it, the concepts and illustrations presented--including quite cogent syntheses and analyses of Marx, Deleuze, Guattari, and Foucault's poststructural ideas and illustrations of the Paris Commune, 1910s Germany, and Situationists c. 1968, with a finale of post 9/11 2003-04 protests against the Iraq war and WTO--will make you re-think what revolution can be (and is), and how art plays a role. Hint: the machine is not an emblem it is a system and revolutions should not simply replace--but be, in the overused word of the year--a "concatenation" of organismic/organic mechanisms of community not individual and not systematic and "orgiastic" but amorphous and still interconnected and complex. Oh, and don't fall into the power structure to critique the power structure, cuz then you're just part of the DeBordian spectacle. Ultimately, this is a way to totally rethink what the meaning and function and functionality of revolution is/can be.
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Add Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source, The art of the three Abrahamic religions—Christianity, Judaism, and Islam—has a tangled, interwoven history. Symbols cross back and forth among the three faiths, adapted to reflect that faith's specific spiritual needs. And much of this symbolic language , Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source to the inventory that you are selling on WonderClubX
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Add Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source, The art of the three Abrahamic religions—Christianity, Judaism, and Islam—has a tangled, interwoven history. Symbols cross back and forth among the three faiths, adapted to reflect that faith's specific spiritual needs. And much of this symbolic language , Our Sacred Signs: How Jewish, Christian, and Muslim Art Draw from the Same Source to your collection on WonderClub |