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To contemplate beauty is precisely to contemplate divine love, but this is not any kind of love.

Put otherwise, von Balthasar finds theological aesthetics to be a proper starting point for theology inasmuch as it allows him to speak about beauty, which for him rightly pushes the discipline of theology to confront the twin movement of beholding and of being enraptured by the Triune beauty-which again brings him back around to love, to desire. 1, Seeing the Form, if theological aesthetics is about anything it is about beauty, and if beauty is about anything in particular it is particularly about love, a love which Christ, the archetype of all forms, embodies and expresses perfectly and against which all created forms are to be measured and to find their ultimate telos.Ħ63 pages of writing on theological aesthetics, then, yields a surprising result: von Balthasar is much less interested in “aesthetics,” even less so in the arts, than he is in love. According to Hans Urs von Balthasar, in The Glory of the Lord: A Theological Aesthetics, vol.