Editorial

Seven of the eleven essays in this issue deal with our theme of art and theology. Each reflects the increasing interest in exploring how the two form a dialogue, bringing to expression a wide range of theological ideas.

The utilization of image and sacred space is not new to the world of theology and religion. The Paleolithic cave paintings of Lascaux and the Christian images of the catacombs express spiritual and theological beliefs. The history of Christian missionaries in China and the New World supply many examples of how they adapted pagan images for liturgical and theological use. Patrizia Granziera's essay brings us into this area. The indigenous people in pre-Hispanic Mexico regarded the sacred tree as a manifestation of the goddess, and Mary's association with trees in Christian religion integrated this new "goddess" into their world vision. Granziera also explores the intriguing question of why Christian crosses used during the feast of the Holy Cross in Mexico are associated with the Virgin Mary and why Mary is referred to as "the cross."

Considering images on Christian sarcophagi, Robin Jensen explores how early Christians may have regarded the visual process as having an eyewitness encounter with the holy. She proposes that the act of viewing generated a subjective epiphanic experience, a divine epiphany, cognitively different from hearing a sermon or reading Scripture.

Catholic theologians have long been aware that the Counter-Reformation decrees of the Council of Trent influenced the development in music and art of the baroque period. Examining the altarpieces of Peter Paul Rubens, Richard Viladesau presents an example of how Tridentine theology translates into the art of this baroque Catholic painter.

Many Canadian are aware of the influence of theosophical beliefs and ideas in the art and writings of Lawren Harris, a founding member of the Group of Seven. Michael Stoeber explores how Harris, drawing on theosophical theory, related art to spiritual transformation and liberation, while developing his views of the soul, artistic process, and mystical experience.

Canadian artist and theologian Regina Coupar goes where few would venture by building a case for the idea that art can be theology. Challenging the common assumption that systematic theology must be created and conveyed through the medium of words, she presents an argument that it can also be done with and through visual art.

The theological and aesthetic philosophical writings of Emanuel Swedenborg have had a profound influence on mid-nineteenth-century American landscape artists. After summarizing key elements of Swedenborg's theology and philosophy, Jane Williams-Hogan shows how four artists applied his thought to their painting by using light, shade, and colour to reveal the spirit in nature.

Gerald Robinson brings the reader into sacred space. Viewing space as a positive entity that can express aspects of worship such as contemplation, pastoral care, witness, dedication, evangelism, and justice, Robinson presents a functional analysis of six architectural plans that realize these aspects and support the ministries of the Church. Black-and-White images were chosen for this paper as being more conducive to intellectual analysis, coloured images, evoking a more emotional response.

TJT looks upon the "Different Tenor" section of the journal as an opportunity for scholars to enter into dialogue and to bring academic discussions to a new level. The remaining four short essays in this issue do just that. Robert Larmer's "Miracles, Divine Agency, and the Laws of Nature" (vol. 27, no. 2) elicited three responses. Yiftach Fehige, Joseph Berkovitz, and William Sweet offer their criticism of Lamar's paper. Not shy of entering the fray, Lamar replies at length to his critics in the fourth and final essay.

The guest editors of this issue wish to thank Abrahim H. Khan, general editor, for inviting us to edit this issue. We hope it gives further attention to the area of art and theology.