By Ann W. Astell
"The enigmatic hyperlink among the ordinary and creative good looks that's to be pondered yet no longer eaten, at the one hand, and the eucharistic attractiveness that's either obvious (with the eyes of religion) and eaten, at the different, intrigues me and conjures up this booklet. One can't ask theo-aesthetic questions about the Eucharist with no enticing primary questions about the connection among attractiveness, paintings (broadly defined), and eating."―from Eating Beauty
In a striking publication that's instantaneously discovered, startlingly unique, and hugely own, Ann W. Astell explores the anomaly of the word "eating beauty." The word conjures up the destruction of good looks, the devouring mouth of the grave, the mouth of hell. To devour attractiveness is to wreck it. but on the subject of the Eucharist the individual of religion who eats the Host is remodeled into attractiveness itself, actually integrated into Christ. during this feel, Astell explains, the Eucharist used to be "productive of a complete 'way' of lifestyles, a virtuous life-form, an paintings, with Christ himself because the critical artist." The Eucharist confirmed for the folks of the center a long time special colleges of sanctity―Cistercian, Franciscan, Dominican, and Ignatian―whose contributors have been united by means of the eucharistic sacrament that they received.
Reading the lives of the saints now not essentially as old records yet as iconic expressions of unique works of art shaped by means of the eucharistic Christ, Astell places the "faceless" Host in a dynamic dating with those icons. With the arrival of every new spirituality, the Christian inspiration of good looks improved to incorporate, first, the marred great thing about the saint and, ultimately, that of the church torn through division―an anti-aesthetic good looks embracing approach, soreness, deformity, and disappearance, in addition to the radiant lightness of the resurrected physique. This brilliant paintings of highbrow and spiritual background is illustrated with telling creative examples starting from medieval manuscript illuminations to sculptures by way of Michelangelo and work by means of Salvador Dalí. Astell places the lives of medieval saints in dialog with sleek philosophers as disparate as Simone Weil and G. W. F. Hegel.