FRANCIS SCHAEFFER ANALYZES ART AND CULTURE Part 22 “The School of Athens by Raphael” (Feature on the artist Sally Mann)

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1-26-13 SATURDAYS WITH SCHAEFFER The School of Athens by Raphael, The biblical position says that neither the Platonic view nor the humanist view will do. First, God made the whole man and He is interested in the whole man. Second, when the historic space-time Fall took place, it affected the whole man. Third,  there is redemption for the whole man

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Escape from Reason by SchaefferLast week was the final post on Schaeffer’s popular book The God Who is There. The next book in the first volume of Schaeffer’s works is Escape from Reason. Here, Schaeffer seeks to trace the roots of the development of thought of the modern man. It is only after having done this that Schaeffer feels one can be able to speaking meaningfully into ones own age.

In the first chapter Schaeffer opens with a discussion on the grace/nature distinction. Grace deals God as creator, heaven, unseen realities and man’s soul.Nature addresses the creation, visible realities and man’s body. Prior to Thomas Aquinas there was a proper emphasis on grace and the heavenly things as above nature. One of Aquinas contributions to apologetics was his five fold natural proofs for the existence of God: unmoved mover, first cause, argument from contingency, argument from degree and the teleological argument. While there is some debate as to why Aquinas developed these arguments for God’s existence, there is no question as to the unintended impact they had on the grace/nature distinction.

Schaeffer roots the modern development of natural philosophy within Aquinas’ five proofs. What grew out of these proofs was the belief that man was and could be an autonomous self. Thus, while previously the grace/nature distinction was still held together (nature being dependent upon grace), now, nature had split apart from grace and it began to “eat it up” (p. 212). Further, philosophy had broken free from revelation. Along with many other things, this has worked its way into our educational system:

Today we have a weakness in our educational profess failing to understand the natural associations between the disciplines. We tend to study all our disciplines in unrelated parallel lines. This tends to be true in both Christian and secular education. This is one of the reasons why evangelical Christians have been taken by surprise at the tremendous shift that has come in our generation. We have studied our exegesis as exegesis, our theology as theology, our philosophy as philosophy; we study something about art as art; we study music as music, without understanding that these are things of man, and the things of man are never unrelated parallel lines. (p. 211)

One of the ways in which this split shows itself most manifestly is the famous painting The School of Athens by Raphael. The the painting Raphael portrays the difference between the Aristotelian and Platonic schools of thought. In the picture Aristotle is pointing downwards towards the particulars while Plato is pointing upwards to the universals. Schaeffer points out that what this painting so clearly shows is the loosening of the particulars from the universals. The grace/nature distinction has now become a separation that was never intended.

Moving to chapter two Schaeffer lays out the response to the disunity between grace and nature as found in the Reformation. With the advent of natural philosophy and the belief in the autonomous self came the needed idea that man was not completely fallen. The Reformation “rejected the concept of an incomplete Fall resulting in man’s autonomous intellect and the possibility of a natural theology which could be pursued independently from the Scriptures.” (p. 217)

One of the implications of sola scriptura in relation to natural theology was that it rejected the notion that man, through reasoning with natural revelation, could become the authority for determining the reality of God and the universals. Second, sola scriptura implied that salvation was found only in Christ as revealed in Scripture and not nature. (p. 218) Schaeffer notes:

The Reformation said “Scripture alone” and not “the revelation of God in Christ alone.” If you do not have the view of the Scriptures that the reformers had, you really have no content to the word Christ – and this is the drift in modern theology. Modern theology uses the word without content because Christ is cut away from the Scriptures. The Reformation followed the teaching of Christ Himself in linking the revelation Christ gave God to the revelation of the written Scriptures. (p. 218)

It is this return to Scripture alone that is the key to bringing the disunity between grace and nature back together. Scripture is the unifying factor between the universals and the particulars. One of the other positive results of the unifying effect of Scripture to grace and nature is that man can know who he is.  By recognizing the God who is there man can know who he is. This is a constant theme throughout Schaeffer’s works thus far and I suspect it will continue.

It is in Scripture that man can know who he is. He can know that he is created in the image of God and that he has fallen from God. Schaeffer felt that the modern idea of determinism created in man a sense of meaninglessness and nothingness. He had no sense of dignity. However, what God communicates to man in Scripture is a sense of dignity because he was created in Gods image despite the fact that he is fallen. Further, man has true moral guilt in his rebellion against God because he is not programmed as determinism would have had man believe (p. 221). Schaeffer states about the Reformers in this regard,

They had a biblical understanding of what Christ did. They understood that Jesus died on the cross in substitution and as a propitiation in order to save  men from true guilt…Christ dies for man who has true moral guilt because man had made a real and true choice. (p. 221)

Coupled with this biblical truth is that while man is a creature like everything else God created, therefore, distinct from the creator, he is, unlike the rest of creation, in relationship with God. Man has personality. Schaeffer concludes with this:

The biblical position, stressed at the Reformation, says that neither the Platonic view nor the humanist view will do. First, God made the whole man and He is interested in the whole man. Second, when the historic space-time Fall took place, it affected the whole man. Third, on the basis of Christ’s work as Savior, and having the knowledge  that we possess in the revelation of the Scriptures, there is redemption for the whole man. In the future, the whole man will be raised from the dead and will be redeemed perfectly. (p. 224)

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How Should We then Live Episode 7 small (Age of Nonreason)

#02 How Should We Then Live? (Promo Clip) Dr. Francis Schaeffer

The clip above is from episode 9 THE AGE OF PERSONAL PEACE AND AFFLUENCE

10 Worldview and Truth

In above clip Schaeffer quotes Paul’s speech in Greece from Romans 1 (from Episode FINAL CHOICES)

Two Minute Warning: How Then Should We Live?: Francis Schaeffer at 100

A Christian Manifesto Francis Schaeffer

Published on Dec 18, 2012

A video important to today. The man was very wise in the ways of God. And of government. Hope you enjoy a good solis teaching from the past. The truth never gets old.

Francis Schaeffer “BASIS FOR HUMAN DIGNITY” Whatever…HTTHR

Sanzio 01.jpg
Artist Raphael
Year 1509–1510
Type Fresco
Dimensions 500 cm × 770 cm (200 in × 300 in)
Location Apostolic PalaceVatican City

 

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Francis Schaeffer has written extensively on art and culture spanning the last 2000 years and here are some posts I have done on this subject before : Francis Schaeffer’s “How should we then live?” Video and outline of episode 10 “Final Choices” episode 9 “The Age of Personal Peace and Affluence”episode 8 “The Age of Fragmentation”episode 7 “The Age of Non-Reason” episode 6 “The Scientific Age” episode 5 “The Revolutionary Age” ,  episode 4 “The Reformation” episode 3 “The Renaissance”episode 2 “The Middle Ages,”, and  episode 1 “The Roman Age,” . My favorite episodes are number 7 and 8 since they deal with modern art and culture primarily.(Joe Carter rightly noted, “Schaefferwho always claimed to be an evangelist and not a philosopher—was often criticized for the way his work oversimplified intellectual history and philosophy.” To those critics I say take a chill pill because Schaeffer was introducing millions into the fields of art and culture!!!! !!! More people need to read his works and blog about them because they show how people’s worldviews affect their lives!

J.I.PACKER WROTE OF SCHAEFFER, “His communicative style was not thaof a cautious academiwho labors foexhaustive coverage and dispassionate objectivity. It was rather that of an impassioned thinker who paints his vision of eternal truth in bold strokes and stark contrasts.Yet it is a fact that MANY YOUNG THINKERS AND ARTISTS…HAVE FOUND SCHAEFFER’S ANALYSES A LIFELINE TO SANITY WITHOUT WHICH THEY COULD NOT HAVE GONE ON LIVING.”

Francis Schaeffer’s works  are the basis for a large portion of my blog posts and they have stood the test of time. In fact, many people would say that many of the things he wrote in the 1960’s  were right on  in the sense he saw where our western society was heading and he knew that abortion, infanticide and youth enthansia were  moral boundaries we would be crossing  in the coming decades because of humanism and these are the discussions we are having now!)

There is evidence that points to the fact that the Bible is historically true as Schaeffer pointed out in episode 5 of WHATEVER HAPPENED TO THE HUMAN RACEThere is a basis then for faith in Christ alone for our eternal hope. This link shows how to do that.

Francis Schaeffer in Art and the Bible noted, “Many modern artists, it seems to me, have forgotten the value that art has in itself. Much modern art is far too intellectual to be great art. Many modern artists seem not to see the distinction between man and non-man, and it is a part of the lostness of modern man that they no longer see value in the work of art as a work of art.” 

Many modern artists are left in this point of desperation that Schaeffer points out and it reminds me of the despair that Solomon speaks of in Ecclesiastes.  Christian scholar Ravi Zacharias has noted, “The key to understanding the Book of Ecclesiastes is the term ‘under the sun.’ What that literally means is you lock God out of a closed system, and you are left with only this world of time plus chance plus matter.” THIS IS EXACT POINT SCHAEFFER SAYS SECULAR ARTISTS ARE PAINTING FROM TODAY BECAUSE THEY BELIEVED ARE A RESULT OF MINDLESS CHANCE.

 

I was impacted by this film series by Francis Schaeffer back in the 1970’s and I wanted to share it with you. Schaeffer makes three key points concerning the Reformation: “1. Erasmian Christian humanism rejected by Farel. 2. Bible gives needed answers not only as to how to be right with God, but concerning the meaning of life and what is right and what is wrong, and concerning mankind and nature. 3. The people of the Reformation did not have humanism’s problem, because the Bible gives a unity between God

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Francis Schaeffer with his son Franky pictured below. Francis and Edith (who passed away in 2013) opened L’ Abri in 1955 in Switzerland.

Today’s featured artist is Sally Mann:

Charly Rose interviews Sally Mann (2003)

Published on Aug 20, 2012

No description available.

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Sally-Mann-Black-Eye-1991-painting-artwork-print-1lpzmeq.jpg

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From PBS:

Sally Mann

Home » Artists » Sally Mann

About Sally Mann

Sally Mann was born in 1951 in Lexington, Virginia, where she continues to live and work. She received a BA from Hollins College in 1974, and an MA in writing from the same school in 1975. Her early series of photographs of her three children and husband resulted in a series called “Immediate Family.” In her recent series of landscapes of Alabama, Mississippi, Virginia, and Georgia, Mann has stated that she “wanted to go right into the heart of the deep, dark South.” Shot with damaged lenses and a camera that requires the artist to use her hand as a shutter, these photographs are marked by the scratches, light leaks, and shifts in focus that were part of the photographic process as it developed during the nineteenth century. Mann has won numerous awards, including Guggenheim and National Endowment for the Arts fellowships. Her books of photographs include “Immediate Family, At Twelve: Portraits of Young Women,” and “Mother Land: Recent Landscapes of Georgia and Virginia.” Her photographs are in the permanent collections of many museums, including the Museum of Modern Art and Whitney Museum of American Art in New York, and Smithsonian American Art Museum in Washington, DC.

Sally Mann | Art21 | Preview from Season 1 of “Art in the Twenty-First Century” (2001)

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