Author’s note: This chapter is an edited and very condensed extract of case study analysis for my PhD research.
6:1 CULTURAL DIVIDES AND THE GLOBAL CULTURE
At this time, the spiritual in art education is positioned as part of a specifi c cultural heritage, for instance Buddhist art or indigenous art. It is not the intention of this study to argue that these rich resources of art and artefacts are not the rightful property of the cultural groups that have produced them; on the contrary, it is one of the most fascinating aspects of spiritual art that the fundamental concepts emerge within each cultural visual idiom with such a distinct and specifi c fl avour. The sense of the numinous, present in yantra and mandala art, is lost in an approach that focuses on analysing the formal qualities and emotional affect, while ignoring the direct link to numinous presence within the image.