Apart from the work of God in creation, it''s notoriously difficult to explain the presence of beauty in the world and man''s appreciation for it. Indeed, the aesthetic realm (with its array of phenomena which engage the senses, the mind, and the heart) not only suits the biblical account of the universe, but also points toward it. In making this case, sixteen writers address the shortcomings of naturalistic narratives, the virtues of theistic accounts (particularly those grounded in Christ), and the manner in which the various arts resonate with Scripture.Along the way, readers will encounter the peacock''s tail and Farnsworth House; a Schubert piano sonata and "chopsticks"; Kintsugi and Kitsch; Hugh of St. Victor and Hans Urs von Balthasar; Kandinsky and Eisenstein; the Lydian and Phrygian modes; eucatastrophe and liminal space; McDonald''s and Don Quixote; Smeagol and the Blobfish; Stockhausen and Begbie; Adorno and Kinkade; Mount Auburn Cemetery and Narnia; Fujimura and Schopenhauer.

Apart from the work of God in creation, it''s notoriously difficult to explain the presence of beauty in the world and man''s appreciation for it. Indeed, the aesthetic realm (with its array of phenomena which engage the senses, the mind, and the heart) not only suits the biblical account of the universe, but also points toward it. In making this case, sixteen writers address the shortcomings of naturalistic narratives, the virtues of theistic accounts (particularly those grounded in Christ), and the manner in which the various arts resonate with Scripture.Along the way, readers will encounter the peacock''s tail and Farnsworth House; a Schubert piano sonata and "chopsticks"; Kintsugi and Kitsch; Hugh of St. Victor and Hans Urs von Balthasar; Kandinsky and Eisenstein; the Lydian and Phrygian modes; eucatastrophe and liminal space; McDonald''s and Don Quixote; Smeagol and the Blobfish; Stockhausen and Begbie; Adorno and Kinkade; Mount Auburn Cemetery and Narnia; Fujimura and Schopenhauer.