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Spiritualist art or spirit art or mediumistic art or psychic painting is a form of art, mainly painting, influenced by spiritualism. Spiritualism influenced art, having an influence on artistic consciousness, with spiritual art having a huge impact on what became modernism and therefore art today.
During the Middle Ages, scholars coined terms for many of these methods—some of which had hitherto been unnamed—in Medieval Latin, very often utilizing the suffix-mantia when the art seemed more mystical (ultimately from Ancient Greek μαντεία, manteía, 'prophecy' or 'the power to prophesy') and the suffix -scopia when the art seemed ...
During the Post-war era at the time Salinger conceived “The Inverted Forest,” he was straddling social and spiritual influences. Kenneth Slawenski writes that while living in New York City, Salinger “found himself attempting to live in two separate realities: the “inverted” world of spiritual creativity and the social world of Greenwich Village clubs and poker games.” [4]
The meaning of spirituality has developed and expanded over time, and various meanings can be found alongside each other. [1] [2] [3] [note 1] Traditionally, spirituality is referred to a religious process of re-formation which "aims to recover the original shape of man", [note 2] oriented at "the image of God" [4] [5] as exemplified by the founders and sacred texts of the religions of the world.
By 1853, when the popular song "Spirit Rappings" was published, spiritualism was an object of intense curiosity. Spiritualism is a social religious movement popular in the nineteenth and early twentieth centuries, according to which an individual's awareness persists after death and may be contacted by the living. [1]
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Theological aesthetics is the interdisciplinary study of theology and aesthetics, and has been defined as being "concerned with questions about God and issues in theology in the light of and perceived through sense knowledge (sensation, feeling, imagination), through beauty, and the arts". [1]
To her, art was a way to make contact with God. [2] As her production continued, Houghton's images gained in complexity, exhibiting an increasing number of layers, colors and small details. [ 11 ] In the 19th century, “abstraction” was not yet a concept, hence the bemused tone of the critical reception of the paintings. [ 11 ]
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