The Eye Altering: William Blake and the Nature of Observation, by Naomi Billingsley

The Jesus Field: Observation, Participation, and how Images alter the Observer

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Introduction: Jesus and the Human Imagination

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In All Religions are One (1788) Blake declared “That the Poetic Genius is the true Man. and that the body or outward form of Man is derived from the Poetic Genius” (Principle 1st). Blake here is drawing attention to the great, hidden secret of both reality and the nature of God, which is Form. Forms are not ‘things’ but processes or organising movements. Forms are rooted in and expressions of (creations of) an underlying “former”, which in Blake’s early work he called the “Poetic Genius” to signify its formative aspect, a term which is derived from the same root as the word from which we also get “genesis” and indeed “genetic”. According to Blake it is this that gives each body its individual as well as generic “form”. In contrast to almost all other spiritual traditions, Blake understood that forms are not temporary and unimportant but eternal, continually creating and recreating themselves. They are vast invisible forming fields, similar to what Rupert Sheldrake has more recently termed “morphogenetic fields”.

William Blake believed that Christianity is art and that Jesus Christ was an artist, who is both the model and the source of artistic activity. These ideas are central to his artistic and religious vision, and are expressed in various forms throughout his career: from the early account of the Poetic Genius in All Religions are One, to the late aphorisms of the Laocoön plate.

This article examines why Blake identified Christ as artist and Christianity as art. My central argument is that Blake expresses this theory – or theology – of art through his visual representations of Christ. Blake did not mean that Jesus produced works of fine art, nor that one must do so in order to be Christian; rather, Christ’s identity is Imagination, and as such all his acts and all activity in him are art. Thus, I examine Blake’s depictions of Jesus’ life and ministry, and show that Blake represents these themes as analogous to the work of the artist because Jesus changes the way that we perceive the world.

As Morris Eaves highlights at the end of Blake’s Theory of Art, for Blake, Jesus’ art was his public ministry – his parables and miracles were acts of self-expression, which sought to create a new social order. So too Blake seeks, through his art, to engender a community of Imagination. This community is the Divine Body, which is Jesus, who is Imagination – as expressed in the Laocoön aphorism quoted below:

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Thus, Blake’s depictions of Christ are also representations of artistic activity; they include not only images of Jesus’ public ministry, but also of his birth, death and resurrection, as an apocalyptic agent, and in extra-biblical roles.

Whilst Blake’s vision of Christ as the supreme type of the artist was by no means a static concept, it emerged in his works as early as All Religions are One and can be found in works from throughout his career. This article explores how Blake envisaged the life of Christ as manifesting the principles of art through case studies that examine five major themes in Blake’s depictions of Christ in key pictorial projects in his oeuvre: art as regeneration, art as inspiration, art as facilitator, art as eternal, and art as iconoclastic. Imagination alters the way we see the world, and our relationship with it: that is to say, since observed and observed are fundamentally entwined and interdependent (or “entangled”, in the language of modern quantum field theory), imagination alters, or restores, the nature of reality itself – to a unified and integrated (“holistic”) whole, or “vision”.

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Blake’s Left Foot: William Blake and how to enter new States, by Jennifer Keith

“And did those Feet?” Radical incarnation and the Spirituality of Physiology in Blake’s Milton 

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Introduction: The Mental Traveller

In a work with the spiritual aspirations of Blake’s Milton, the pedestrian topic of feet may seem less than deserving of critical attention, but because Blake himself repeatedly focuses on the foot in his brief epic, surely the reader should attend to this lowest part of human anatomy.

As an anatomical feature, the foot automatically assumes importance given Blake’s declaration in Milton that “more extensive / Than any other earthly things, are Mans earthly lineaments.” In verses noted for their narrative convolutions and complex imagery, Blake’s poetic feet figure among Milton‘s most memorable fancies: “covered with Human gore,” Zelophehad’s Daughters’ feet treadle the loom (29.58); a “Vegetable World” appears on Blake’s left foot (21.12); and Albion’s enormous feet cover a good portion of southern England (39.36-40).

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Christmas and William Blake by Harriet Monroe

Revolutions in Being: The Meaning of the Nativity in Blake’s Vision

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Introduction

It is strange how the worship of the Christ-child penetrated the hard old Roman-built world. It was like the perfume of a lily, of a mass of lilies, whose roots have broken rocky soil, whose shining whiteness enchants the air. An infant conquered the nations; the human race lifted up its eyes and sang a new song.

“Slowly the perfume, the song reacted in beauty in men’s minds, and the beauty took to itself form and colour and rhythm, became incarnate in churches and statues, gorgeous in tapestries and paintings, vocal in poetry and music.” (Image: detail from Fra Angelico’s Annunciation of Cortona,1433–1434).

Slowly, through those centuries of a crumbling empire and a resilient faith, the perfume, the song reacted in beauty in men’s minds, and the beauty took to itself form and colour and rhythm, became incarnate in churches and statues, gorgeous in tapestries and paintings, vocal in poetry and music. The human spirit passed from Caesar to Saint Francis, from the Colosseum to Chartres Cathedral, from pagan frescoes to Fra Angelico, from Greek choruses to Palestrina, from Virgil and the cynical later poets of a disillusioned autocracy to Dante and the epics and lyrics of new languages seeded and nourished by the old.

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The 40 Rules of Love, by Shams Tabrizi – Part 2

Mystical Islam: Integrating the Left and the Right

The original post exploring the ’40 Rules of Love’ by the great Persian mystic and Sufi, Shams Tabrizi, has been the most viewed of all the posts on The Human Divine. The earlier blog, which is available here, only covers the first ten of the ‘rules’ though, so here’s the next ten of his observations, a continuation and elaboration of his teachings.

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