Hi guys!

My name’s Diana, and my friends and I are working on this project called Consecrea, which will hopefully become the first and only online platform for modern faith-based and limited-edition wall art. We want to create a new genre of modern spiritual art; of art that reflects your beliefs and your spirituality, in refreshingly new takes and modern styles.

To do this, we’re looking for participants for our online survey to help us figure out who are the people that might be interested in our stuff, which art styles call and speak to people, and if modern prints and wall art with religious and spiritual themes is something that people would actually like to see more of.

https://consecrea.paperform.co/

The survey should take no more than 5 minutes of your time, and participants will receive a 20% discount on our artwork when we launch.

Thank you! If you have any questions or just want to share your ideas, feel free to personally message me or send an email to hello@consecrea.com 🤗

We’re looking forward to reading your responses!

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https://preview.redd.it/5ee4inhv14c61.png?width=1000&format=png&auto=webp&s=95c7de81a66a90c0a15b2ed502a9fb92892bd1c8

This video shares the very meaning of the Spiritual Art of Simcha Brian Adam. Please wait a minute or so into the video to see his unforgettable images.

https://www.youtube.com/watch?v=O3zHB3MYlrM

Authentic and normative art always tends to combine intelligent observation of nature with noble and profound stylizations in order, first, to assimilate the work to the model created by God in nature and, secondly, to separate it from physical contingency by giving it an imprint of pure spirit, of synthesis, of what is essential.

Frithjof Schuon

I'd say that I define sacral art as any artwork that effectively connects with the Divine, specifically the Divine archetypes in some shape or form. Sacral art is engaged in revealing the variety of "hierophany," the manifestations of the sacred in all spheres of life. In this way, the overarching theme is based around the arts and crafts through which sacred reality manifests itself. Very different from idolatry, it's not about the deification of the objects by themselves, but rather the deification based on the fact that they represent hierophanes.

It's all about those transcendental symbols, the sacred archetypes, a Temujin clot of spiritual energy, like a snapshot of the supremely enlightened perspective, Śīla. Sacred aesthetics are an omens, sources, and tools. They can form microcosms of a perennial age, or at the very least Ghibelline echoes of one. Sacral art can be like a fountain of moral archetypes, transmitting these archetypes to others. Finally, they can be a tool to spiritual advancement, auxiliary ones albeit.

For the Ancients, the figure of the Artist draws closer to the image of the Alchemical operator, realized in the dual idea of the Artifex. With the master acting on the other side of the art and craft while unifying the latter components. In the ranks of the Artifex, Plato made sure to include not only poets, painters, sculptors, and musicians, but also weavers, embroiders, potters, cabinetmakers, and blacksmiths, making a distinction only between the act of creation (demiourgein) and simple work (cheirourgein).

One should make this further distinction between art which transcends and art which is for utility. Transcendental art is an expression of the inspired artist's inner, more divine world. Thus, going beyond the base purpose of efficacy. Whilst the primary purpose of art that is for utility concerns mostly with aesthetics/beauty and practical purpose, yet still having an element of transcendence. This is effectively the creative expression of beauty.

There's a distinction between art (techne) and industry (atechne). That particular revelation ties into what Heidegger would call Bringing-Forth (techne) and Challenging-Forth (atechne). I won't get into that too much right now, so click the link if you want to read more. It has more applications in the realm of technology and human relations to nature, but I do recommend The Question Concerning Technology. I digress, anyway, all of this wonder and objective beauty is gone when we look at profane art and all its characteristics.

In a Modern society, any human activity, including creative activity, is limited to its most base material and temporal manifestations. It's the omen, source, and tool of exclusively transmitted profane knowledge. Just as civilization is reduced to the most insipid human dimensions, so is art. Everything begins and end with the Modern man, confined to this world. he profane creator’s knowledge is gained through the sense organs and directed at a purely rational and reflex and impulse oriented perception of the world.

For much of modern art, the result is that the viewer is all too often struck with the question of, ‘well what does this mean’ upon viewing it. Contemporary works of art feel like they exist in a vacuum; they doesn’t exist in a tradition but stand against every tradition. To some extent this can be seen by the increasing difficulty it is to divide art in to analytic categories. And really by the 20th century or so, art classifications become a sort of relativistic discipline. It’s much easier nowadays to speak of modern artists than modern art movements.

If art is to mean something it should express a common being, a common connection, a common Tradition. When we look the profanity of it, Modern art tends to mainly reflect a jumbled cacophony of disparate voices says something about our society at large. However, in sacral terms, they actually say very little, and in the grand scheme of things they have very little, if any, value. To truly have value in an eternal way, they need eternal virtues and/or archetypes that are made concrete in material form. That is what Sacred art does.

In Modernity, Art loses meaning, it loses stability. You'll find that the loss of both corresponds with the overarching spiritual decline, the grand involution. At present, the concept of art has lost both significance and a stable meaning as we find ourselves in roughly around the 4th Fall. This part of the Epoch brings an increasingly popular conclusion that is now largely accepted by the intelligentsia. Their conclusion is that art criticism is entirely relative, and any conscious or unconscious compositions could be considered art.

This is the beginning of the breaking point of art, or rather, the Critical Point of Art. The pretense drops, the products of the creative or other human impulse have broken ties with sacred meanings, discarded Divine forms, and ultimately perform only secular and consumerist functions. Therefore, they don't contain any other knowledge besides trivial and/or erotic knowledge. We can see this decline going back to the immediate aftermath of the Enlightenment, but it has gotten much worse in the post-Great War world. Going from the more straightforward conventional and sentimentalist, we can see the fall to the abstract, the self-congratulatory, etc.