To be spiritually dead is to be diabolically alive
R. C. SproulRead
What makes art Christian art? Is it simply Christian artists painting biblical subjects like Jeremiah? Or, by attaching a halo, does that suddenly make something Christian art? Must the artist’s subject be religious to be Christian? I don’t think so. There is a certain sense in which art is its own justification. If art is good art, if it is true art, if it is beautiful art, then it is bearing witness to the Author of the good, the true, and the beautiful
Interpretation
Christian art is defined not just by religious subjects, but by its quality and truthfulness, reflecting the divine.
R. C. Sproul challenges the notion that art can only be classified as Christian if it depicts biblical themes or overt religious symbols. He posits that true art transcends its subject matter and exists as an embodiment of goodness, truth, and beauty, ultimately pointing to the Creator of these concepts. Thus, art's value lies in its quality and the genuine reflection of the divine, rather than merely its thematic content.
In practice
This quote can be shared in a discussion about the role of faith in creative expression.
To be spiritually dead is to be diabolically alive
I’ve often wondered where Jesus would apply His hastily made whip if He were to visit our culture. My guess is that it would not be money-changing tables in the temple that would feel His wrath, but the display racks in Christian bookstores.
The real crisis of worship today is not that the preaching is paltry or that it's too drafty in church. It is that people have no sense of the presence of God, and if they have no sense of His presence, how can they be moved to express the deepest feelings of their souls to honor, revere, worship, and glorify God?
We talk about predestination because the Bible talks about predestination. If we desire to build our theology on the Bible, we run head on into this concept. We soon discover that John Calvin did not invent it.
Without God man has no reference point to define himself.
I do not want to drive across a bridge designed by an engineer who believed the numbers in structural stress models are relative truths.
There's a crystallization that goes on in a poem which the young man can bring off, but which the middle-aged man can't.
Anybody with artistic ambitions is always trying to reconnect with the way they saw things as a child.
The thing that influenced me most was the way Tommy played his trombone. It was my idea to make my voice work in the same way as a trombone or violin-not sounding like them, but "playing" the voice like those instrumentalists.
So much of what I love about poetry lies in the vast possibilities of voice, the spectacular range of idiosyncratic flavors that can be embedded in a particular human voice reporting from the field. One beautiful axis of voice is the one that runs between vulnerability and detachment, between 'It hurts to be alive' and 'I can see a million miles from here.' A good poetic voice can do both at once.
You're...writing for other writers to an extent-the dead writers whose work you admire, as well as the living writers you like to read.
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