Rewriting the Bible: The Visual Culture of Creation Science

Author(s):  
Larissa Carneiro
Author(s):  
David Fisher

Henry M. Morris, widely regarded as the founder of the modern creationist movement, died February 25, 2006, at the age of eighty-seven. His 1961 book The Genesis Flood, subtitled, The Biblical Record and Its Scientific Implications, was a cornerstone of the movement. Many more books followed, including Scientific Creationism; What Is Creation Science?; Men of Science; Men of God; History of Modern Creationism; The Long War Against God; and Biblical Creationism. In 1970 he founded the Institute for Creation Research, which continues to be a leading creationist force, now headed by his sons, John and Henry III. In 1982 I debated the subject with him at the Coral Ridge Presbyterian Church in Fort Lauderdale in front of a sellout crowd of several thousand. He had emphasized in our initial contacts that the debate would be based on science, not religion, but when he opened his remarks with this same statement and the audience responded with loud cries of “Amen!” and “Praise Jesus!” I knew I was in for a long night. Both of us steered away from the biological arguments, I because I’m not a biologist and he presumably because the Biblical side of that is so evidently silly—if he had tried to describe how Noah brought two mosquitoes or two fleas aboard he might have got away with it, but the whole panoply of billions of species of submicroscopic creatures was obviously a problem. Instead he concentrated on the physical side, in particular on the age of the earth, and that was fine with me. As noted in the previous chapters, the earth’s age is central to Darwin’s argument. A strict interpretation of the Bible gives a limit of thousands of years, which is clearly not enough time for evolution to take place. Radioactive dating, on the other hand, gives Darwin his needed time span of billions of years, and so a cornerstone of the creationist argument is its necessary destruction. Morris was a wonderful motivational speaker, and spent a long introduction wandering through the Bible to show how wonderfully reasonable it is.


2019 ◽  
Vol 23 (4) ◽  
pp. 411-433
Author(s):  
Sheona Beaumont

Abstract Increasingly articulate contemporary art practices are engaging with biblical representation, revealing new relationships with religion through the availability of the word in image. Taking as exemplary the photographic publication of Adam Broomberg and Oliver Chanarin’s Holy Bible (2013), this essay considers the evidence for their hermeneutics between image and word that is characterized by open awareness of and expansive participation in the (rereading of the) Bible. Discussing this engagement, I explore imagistic readings of the Bible through the artists’ strategies of interpolation and repetition, as well as examining their chosen theme—catastrophe—for its revelatory power. Through the artists’ self-reflexive hermeneutics of indeterminacy, I argue that the discussion of the return of religion in art needs attuning to this kind of specific practitioner experience: a hermeneutical circle of imaginative, dialogical, and dynamic interpretative positions in which the notion of indeterminacy is persuasive for interpretative grist, historical accountability, and theological horizon.


2021 ◽  
Vol 8 (1) ◽  
pp. 51-80 ◽  
Author(s):  
Naomi Billingsley

This article examines an iconic example of grangerizing: the Macklin Bible extra-illustrated in 45 volumes by London artist and bookseller Robert Bowyer (1758‐1834) in the first quarter of the nineteenth century (Bolton Libraries and Museums, Bolton, United Kingdom). The principal focus is on the Bowyer Bible as an example of an extra-illustrator’s close engagement with its source publication. The author argues that Bowyer’s practice responds not only to the Bible or the King James Bible, in general, but also to the Macklin Bible, in particular. The article discusses how the Bowyer Bible engages with the Macklin Bible specifically and how it reflects a broader range of concerns in its visual engagement with the Bible. It demonstrates that Bowyer’s curation of biblical visual material evidences both his professional interests as a connoisseur of prints and his personal interests in the visual culture of the Bible that reflect his own piety as well as contemporaneous developments in the study of the scriptures. Other matters discussed in the article are the original function of this Bible, as well as the extent to which it reflects and is distinctive from contemporaneous extra-illustrated books.


Images ◽  
2010 ◽  
Vol 4 (1) ◽  
pp. 82-108
Author(s):  
Nissim Gal

AbstractThe series of photographs called Bible Stories (2003-2006), made by the photographer Adi Nes, offers a visual interpretation of the biblical narrative as a source for a critical reflection on contemporary culture. The Bible Stories series uncovers the aesthetic, ethical and social codes of the current visual culture. Nes processes the biblical text and rereads it via photography. The renewed appearance of the bible stories connects contemporary photorealism with the tradition of biblical illustration. The contemporary appearance and interpretative recomposition of the biblical episodes invert the hierarchies exemplified in some of the stories, and restructure the apparent gender relations, opening up a way to societal Others in the present, and conscripting the transcendent status of the text in order to criticize contemporary culture through the creative act.


2021 ◽  
pp. 20-72
Author(s):  
Sarah C. Schaefer

Chapter 1 introduces the context in which Doré’s biblical imagery emerged by focusing on the status of the Bible in the visual culture of nineteenth-century France, with particular emphasis on book illustration. Relying on photographic documentation of Doré’s original drawings, this chapter begins the process of articulating Doré’s visual language and its relationship to preceding attempts at comprehensive Bible illustration projects. The distinction between “biblical” and “religious” imagery is significant in setting the stage for the Doré Bible, as it was initially produced for French Catholic audiences, a contingent for whom direct engagement with the Bible was historically discouraged or even forbidden. Yet, as this chapter demonstrates, biblical illustration in the first half of the nineteenth century reveals the continued centrality of the Bible to artistic and public life in the wake of religious and intellectual upheavals.


2021 ◽  
pp. 1-19
Author(s):  
Sarah C. Schaefer

This chapter introduces Gustave Doré’s biblical imagery with a brief analysis of several works, an overview of the conceptual parameters of the book (focusing on the role of the Bible in modern visual culture), a biographical and historiographical examination of Doré’s life and work, and an outline of the book’s chapters. It begins with an examination of Doré’s biblical imagery through several reproductions of his work in Milwaukee, Wisconsin—an illustrated Bible, a stained-glass window, an oil painting, and a paint-by-number—in order to demonstrate the various economic and cultural lenses through which this imagery has been recuperated. The relative lack of biblical imagery in existing narratives of modern art is introduced here, and is a subject that will be explored further in subsequent chapters.


2019 ◽  
Author(s):  
◽  
Grace Temiloluwa Agbede

Using a multimodal framework, I analyse and appraise discursive and visual elements used in billboard and poster advertisements by Pentecostal churches in Nigeria. Pentecostalism is one of the most rapidly growing movements in Nigeria with approximately 40 million adherents. It is also amongst the most radical denominations which divorces followers from the cultural and spiritual ties which bind them to African societies. Some scholars believe that the phenomenal growth of Pentecostal churches in Nigeria poses a challenge to mainline churches in the country. This is why it is important for academic studies to be undertaken to investigate this movement’s strategies of disseminating the gospel. The study employs a qualitative case-study approach to examine the language (written and visual) of church advertisements in Nigeria. Since Christianity is a belief system based on Biblical teachings, this study also investigates how the Christian belief system manifests itself in the language of advertising. Purposive sampling was employed, and data were collected from posters and billboards. The linguistic and visual elements of the selected data were analysed in relation to the cultural context of church advertising in an attempt to determine the role of such sociocultural influences on communication. The study shows that Pentecostal churches employ different strategies to convey their messages to target audiences. These include the use of extensive visual multimodal techniques; brevity (fewer words and more visuals); prophet-centrism; problem-solving as attraction; Biblical allusion; use of sociolinguistic features; the exclusion of women as advertisers; and the use of computer language. Importantly, as a new contribution to knowledge, the study proposes an Afrocentric model for analysing visual culture in church advertising – a model which is a first of its kind. The Bible and Jesus Christ, as focal points for Christian belief, constitute the foundation of church advertising. Other strategies for advertising derive from this foundation, although each advertisement differs depending on how each church and/or man of God interprets specific Biblical teachings.


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