Beyond the pervasive disinterest in the visual arts among the Protestant community, the core problem lies in the fact that the art world rejects on several grounds work that is in any way explicitly Christian in content and also shrugs off as naive anything that has the semblance of hope or optimism in outlook.

Narcissism and Christianity have little in common, yet the Romantic paradigm of artistic creativity, particularly in light of subsequent Freudian ideas, has tended to foster its share of narcissism. It was the tragic fate of Narcissus that he was so preoccupied with self that he could not appreciate God, nature, or the other.

In the Classical tradition, deriving from ancient Greece and Rome, beauty was perceived as the means by which the artist captured the viewer's eye in order to engage the viewer with truth and so inspire goodness.

Advertizing, television and film all wield mighty powers to visually seduce us, while much fine art leaves us indifferent, confused or, at worst, repulsed. There is a desperate need for creative Christians to redeem the visual arena from both forms of excess, cutting through all the false glamour, tawdry baseness and dense obfuscation.

Christ, as the ultimate Imago Dei is alluded to in scripture as being without external beauty in the Classical sense, and should better be thought of as one who passed through all the slime and mire of a fallen and sinful creation in order to redeem it. His own body is to be remembered for the marks it bears-even in resurrection-of the scars of his sacrificial death. For the Christian, a theory of beauty might better begin at this point.

Beyond the pervasive disinterest in the visual arts among the Protestant community, the core problem lies in the fact that the art world rejects on several grounds work that is in any way explicitly Christian in content and also shrugs off as naive anything that has the semblance of hope or optimism in outlook.

Begbie offers an additional valuable contribution by rejecting the traditional emphasis on beauty, in its Platonic sense, and instead suggesting that beauty be reconceived in Christological terms-as disorder redeemed.