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Sensation is the subject of a burgeoning field in the humanities. This volume examines its role in the religious changes and transformations of early modern Europe. Sensation was not only central to the doctrinal disputes of the Reformation, but also critical in shaping new or reformed devotional practices. From this vantage point the book explores the intersections between the world of religion and the spheres of art, music, and literature; food and smell; sacred things and spaces; ritual and community; science and medicine. Deployed in varying, often contested ways, the senses were essential pathways to the sacred. They permitted knowledge of the divine and the universe, triggered affective responses, shaped holy environments, and served to heal, guide, or discipline body and soul. Contributors include Alfred Acres, Barbara Baert, Andrew R. Casper, Wietse de Boer, Sven Dupré, Iain Fenlon, Laura Giannetti, Christine Göttler, Jennifer R. Hammerschmidt, Joseph Imorde, Rachel King, Jennifer Rae McDermott, Walter S. Melion, Matthew Milner, Sarah Joan Moran, Yvonne Petry, and Klaus Pietschmann.

Christian church history --- emotion --- Art --- anno 1600-1699 --- anno 1500-1599 --- Europe --- Senses and sensation --- Senses and sensation in art --- Sens et sensations --- Sens et sensations dans l'art --- Religious aspects --- Christianity --- History. --- Aspect religieux --- Christianisme --- Histoire --- History --- Sensation --- Sensory biology --- Sensory systems --- Knowledge, Theory of --- Neurophysiology --- Psychophysiology --- Perception --- Religious aspects&delete& --- Christianity&delete& --- Senses and sensation - Religious aspects - Christianity - History --- Senses and sensation in art - History --- Senses and sensation - Europe - History --- religious experience

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From Shakespeare's "green-eyed monster" to the "green thought in a green shade" in Andrew Marvell's "The Garden," the color green was curiously prominent and resonant in English culture of the sixteenth and seventeenth centuries. Among other things, green was the most common color of household goods, the recommended wall color against which to view paintings, the hue that was supposed to appear in alchemical processes at the moment base metal turned to gold, and the color most frequently associated with human passions of all sorts. A unique cultural history, The Key of Green considers the significance of the color in the literature, visual arts, and popular culture of early modern England. Contending that color is a matter of both sensation and emotion, Bruce R. Smith examines Renaissance material culture-including tapestries, clothing, and stonework, among others-as well as music, theater, philosophy, and nature through the lens of sense perception and aesthetic pleasure. At the same time, Smith offers a highly sophisticated meditation on the nature of consciousness, perception, and emotion that will resonate with students and scholars of the early modern period and beyond. Like the key to a map, The Key of Green provides a guide for looking, listening, reading, and thinking that restores the aesthetic considerations to criticism that have been missing for too long.

English literature --- Color in literature. --- Color --- Color (Philosophy) --- Visual perception in literature. --- Senses and sensation in literature. --- Mind and body in literature. --- History and criticism. --- Psychological aspects. --- Philosophy --- Psychology --- Affective and dynamic functions --- Aesthetics of art --- Thematology --- anno 1500-1599 --- anno 1600-1699 --- Color (Philosophy). --- History and criticism --- passion, romance, sexuality, renaissance, painting, art, history, literature, shakespeare, jealousy, andrew marvell, green, alchemy, sensation, emotion, affect, material culture, tapestry, clothing, stonework, music, theater, philosophy, performing arts, drama, nature, sense perception, aesthetics, consciousness, color, nonfiction.

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David Morgan builds on his previous groundbreaking work to offer this new, systematically integrated theory of the study of religion as visual culture. Providing key tools for scholars across disciplines studying the materiality of religions, Morgan gives an accessibly written theoretical overview including case studies of the ways seeing is related to touching, hearing, feeling, and such ephemeral experiences as dreams, imagination, and visions. The case studies explore both the high and low of religious visual culture: Catholic traditions of the erotic Sacred Heart of Jesus, the unrecognizability of the Virgin in the Fatima apparitions, the prehistory of Warner Sallman's face of Jesus, and more. Basing the study of religious images and visual practices in the relationship between seeing and the senses, Morgan argues against reductionist models of "the gaze," demonstrating that vision is not something that occurs in abstraction, but is a fundamental way of embodying the human self.

Christian religion --- religious art --- fine arts --- Art --- Vision --- Senses and sensation --- Experience (Religion) --- Psychology, Religious. --- Art and religion. --- Religious aspects. --- Experience (Religion). --- fine arts [discipline] --- Psychology of religion --- Religion --- Religions --- Religious psychology --- Psychology and religion --- Religious experience --- Psychology, Religious --- Arts in the church --- Religion and art --- Psychological aspects --- Psychology --- Religious aspects --- books about catholicism. --- books for history lovers. --- books for religious studies. --- books for reluctant readers. --- catholic traditions. --- discussion books. --- easy to read. --- evolution of religion. --- history of religion. --- jesus. --- learning from experts. --- politics. --- religion explained. --- religious culture. --- religious images and visuals. --- religious visual culture. --- scholars of religion. --- spiritual. --- study of religion. --- theories about religion. --- what is catholicism.

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faith --- Italian Renaissance-Baroque styles --- art theory --- Noli me tangere --- Art --- easel paintings [paintings by form] --- saints --- Mary Magdalene --- Thomas [Apostle] --- anno 500-1499 --- anno 400-499 --- anno 1600-1699 --- anno 1500-1599 --- Italy --- Christian art and symbolism --- Senses and sensation in art. --- Sex role in art. --- Noli me tangere (Art) --- Touch --- Sex role --- 246 <45> --- Feeling --- Haptic sense --- Haptics --- Tactile perception --- Tactual perception --- Somesthesia --- Art, Christian --- Art, Ecclesiastical --- Arts in the church --- Christian symbolism --- Ecclesiastical art --- Religious art, Christian --- Sacred art --- Symbolism and Christian art --- Symbolism --- Christian antiquities --- Church decoration and ornament --- Religious aspects --- Christianity. --- Christelijke kunst en symbolisme--Italië --- Jesus Christ --- Thomas, --- Didymos, --- Didymos Judas Thomas, --- Didymus, --- Ḟoma, --- Christ --- Cristo --- Jezus Chrystus --- Jesus Cristo --- Jesus, --- Jezus --- Christ, Jesus --- Yeh-su --- Masīḥ --- Khristos --- Gesù --- Christo --- Yeshua --- Chrystus --- Gesú Cristo --- Ježíš --- Isa, --- Nabi Isa --- Isa Al-Masih --- Al-Masih, Isa --- Masih, Isa Al --- -Jesus, --- Jesucristo --- Yesu --- Yeh-su Chi-tu --- Iēsous --- Iēsous Christos --- Iēsous, --- Kʻristos --- Hisus Kʻristos --- Christos --- Jesuo --- Yeshuʻa ben Yosef --- Yeshua ben Yoseph --- Iisus --- Iisus Khristos --- Jeschua ben Joseph --- Ieso Kriʻste --- Yesus --- Kristus --- ישו --- ישו הנוצרי --- ישו הנצרי --- ישוע --- ישוע בן יוסף --- المسيح --- مسيح --- يسوع المسيح --- 耶稣 --- 耶稣基督 --- 예수그리스도 --- Jíizis --- Yéshoua --- Iėsu̇s --- Khrist Iėsu̇s --- عيسىٰ --- Appearances --- Religious art --- ‏عيسىٰ‏ --- Symbolism in art --- Senses and sensation in art --- Sex role in art --- Religious aspects&delete& --- Christianity --- Christelijke kunst --- Italiaanse school

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Giles Knox examines how El Greco, Velaìzquez, and Rembrandt, though a disparate group of artists, were connected by a new self-consciousness with respect to artistic tradition. In particular, Knox considers the relationship of these artists to the art of Renaissance Italy, and sets aside nationalist art histories in order to see the period as one of fruitful exchange. Across Europe during the seventeenth century, artists read Italian-inspired writings on art and these texts informed how they contemplated their practice. Knox demonstrates how these three artists engaged dynamically with these writings, incorporating or rejecting the theoretical premises to which they were exposed. Additionally, this study significantly expands our understanding of how paintings can activate the sense of touch. Knox discusses how Velaìzquez and Rembrandt, though in quite different ways, sought to conjure for viewers thoughts about touching that resonated directly with the subject matter they depicted.

Aesthetics of art --- Painting --- painting [image-making] --- Velázquez, da Silva y, Diego --- Greco, el --- Rembrandt --- Italy --- Toucher --- Touch --- Sens et sensations --- Senses and sensation in art. --- Peinture --- Dans l'art. --- In art. --- Influence. --- Greco, Le --- Greco, --- Velázquez, Diego --- Velázquez, Diego, --- Rembrandt Harmenszoon van Rijn, --- Thèmes, motifs. --- Themes, motives. --- Painting, Renaissance --- Italian influences. --- Rāmbirānt, --- Rembrandt Garmens van Reĭn, --- Rembrandt van Rijn --- Rembrandt van Reĭn, --- Lun-po-lang, --- Rembrandt, --- Van Rijn, Rembrandt Harmenszoon, --- Rijn, Rembrandt Harmenszoon van, --- Rembrandt Harmensz van Rijn, --- Reimbrandt, --- Rembrandt van Rijn, --- רמברנדט --- רמברנדט הרמנסזון ואן־ריין, --- رامبرانت --- Theotocopuli, Dominico, --- Theotokopoulos, Domenikos, --- Theocopuli, Domenico, --- Theotocopuli, Domenico, --- Zeotokopoulos, Doménikos, --- Theotocópuli, Domingo, --- Theotocópoulos, Doménicos, --- Theoscopoli, Domenico, --- Greco, Domenico, --- Griego, --- El Greco, --- Greco, Dominico, --- Ο Γκρεκο, --- Criticism and interpretation. --- El Greco, Velázquez, Rembrandt. --- Theotocopuli, Dominico --- Theotokopoulos, Domenikos --- Theocopuli, Domenico --- Theotocopuli, Domenico --- Zeotokopoulos, Doméniko, --- Theotocópuli, Domingo --- Theotocópoulos, Doménicos --- Theoscopoli, Domenico --- Greco, Domenico --- Griego --- El Greco --- Greco, Dominico --- Ο Γκρεκο --- Rembrandt Harmenszoon van Rijn --- Rembrandt Garmens van Reĭn --- Rembrandt van Reĭ --- Lun-po-lan --- Van Rijn, Rembrandt Harmenszoon --- Rijn, Rembrandt Harmenszoon van --- Rembrandt Harmensz van Rin, --- Reimbrand --- invloed van Italiaanse school