The purpose of this essay is to explore the question of a Christian poetics, and to see what, if anything, the doctrine of the Trinity has to do with it. Our conclusion is that the doctrine of the Trinity, far from being accidental to Christian poiesis, is fundamental to any account of it—if indeed all phenomena are analogues of the eternal phenomenality of the Son vis-à-vis the Father, and if all that is made is made through the Son by the power of the Creator Spirit. To this end, however, it is argued that Christian poetics implies a particular kind of metaphysics as well, namely, an analogical metaphysics, which is able to do justice to the interplay of essence and existence in creatures, which is cognate with the aesthetic interplay of form and novelty. The result of these explorations is not only a proposed standard, comprising four theses, for Christian art, but also an ecumenical proposal for how to think about the Trinity (and the Filioque) anew—not by dispensing with Augustine's psychological analogy, but by supplementing it with an artistic analogy, specifically, with the help of the patristic trope of the Son as the Ars Patris in whom the Father eternally delights. The final result is a clearer picture of the role of the Holy Spirit, in God and in creation, and of the spiritual-poetic vocation of the imago Dei.

中文翻译：

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三位一体与艺术：迈向基督教诗学

本文的目的是探讨基督教诗学的问题，并看看三位一体的教义与之有什么关系（如果有的话）。我所造之物是借着造物主之灵的力量，通过圣子所造的。然而，为此目的，有人认为基督教诗学也暗示着一种特殊的形而上学，即类比形而上学，它能够公正地对待生物的本质和存在的相互作用，这与审美的相互作用同源。形式和新颖性。这些探索的结果不仅是为基督教艺术提出了由四个论点组成的标准，而且也是关于如何重新思考三位一体（和子子集）的普世建议——不是通过放弃奥古斯丁的心理类比，而是通过补充它通过艺术类比，特别是借助圣父的比喻，将圣子视为圣父永远所喜悦的圣父。最终的结果是更清晰地描绘了圣灵在上帝和创造中的角色，以及上帝形象的精神诗意使命。