Last night I was the Christian speaker at the East London Three Faiths Forum meeting on Faith and the Visual Arts. My fellow speakers were Abed Bhatti and Rabbi Nancy Morris. Abed spoke about his wide-ranging interests and practice as a Muslim who is an artist and academic. Nancy surveyed Jewish approaches to the arts from Bezalel to the Bezalel Academy of Art and Design.
This was my contribution to the discussions:
What is Christian Art? Well, we all know the answer to that! It is cathedrals, icons, the Sistine Chapel ceiling and stained glass. It is Chartres, Michelangelo, Rublev and Sir Christopher Wren. Iconic images, buildings and artists which suggest that Christian art is soaring architecture built to the glory of God combined with biblical stories created with glass or paint.
This was my contribution to the discussions:
What is Christian Art? Well, we all know the answer to that! It is cathedrals, icons, the Sistine Chapel ceiling and stained glass. It is Chartres, Michelangelo, Rublev and Sir Christopher Wren. Iconic images, buildings and artists which suggest that Christian art is soaring architecture built to the glory of God combined with biblical stories created with glass or paint.
But
do our stereotypes of Christian Art hold up when we examine them more closely?
Let’s take a look. Some people answer the question ‘What is Christian Art’ by
saying it is art made by Christians but, if that is the answer to the question,
then there is much that we are ruling out.
Fernand Léger’s mural at Assy, Henri Matisse’s Chapel at
Vence, and Le Corbusier’s Church at Ronchamp are some of the most interesting art works
and architecture created for churches during the twentieth century and all were
by artists who made no claim to be Christians. In fact, all these commissions
came about because of an approach to commissioning art for churches which
argued that Christian art could be revived by appealing to the independent
masters of the time with churches commissioning the very best artists
available, and not quibbling over the artists' beliefs. If all ‘Christian Art’
is art made by Christians then we rule all this out.
So,
maybe, ‘Christian Art’ is art commissioned by the Church. Yet, again,
this seems too limiting a definition.
For instance, Mark C. Taylor has noted
that "From the beginning of modern art in Europe, its practitioners have
relentlessly probed religious issues. Though not always immediately obvious,
the questions religion raises lurk on or near the surface of even the most
abstract canvases produced during the modern era.” Yet relatively little of
that art was commissioned by and for the Church. He concludes that, “One of the
most puzzling paradoxes of twentieth-century cultural interpretation is that,
while theologians, philosophers of religion, and art critics deny or suppress
the religious significance of the visual arts, many of the leading modern
artists insist that their work cannot be understood apart from religious
questions and spiritual issues."
Re-thinking
again, is it art which uses
Biblical/Church images, stories or themes? Once again, this is too
narrow a definition which would not capture, for example, the images that the
deeply Catholic Georges Rouault produced of prostitutes. William Dryness has described these as “painted as
penetrating types of the misery of human existence” but with grace also seen,
as “divine meaning is given to human life by the continuing passion of Jesus
Christ.” Nor would we capture the semi-abstractions created by the Evangelical
Christian Makoto Fujimura who uses semi-precious minerals in the Nihonga style to create
paintings that tend to only hint at recognizable subjects.
So
let’s take a different approach altogether. At the centre of Caravaggio's Supper at Emmaus and
at the centre of the story it depicts is a very simple and ordinary action;
breaking bread or tearing a loaf of bread into two pieces. Although it is a
simple and ordinary thing to do, it becomes a very important act when Jesus
does it because this is the moment when Jesus’ two disciples realise who he is.
They suddenly realise that this stranger who they have been walking with and
talking to for hours on the Emmaus Road is actually Jesus himself, risen from
the dead. They are amazed and thrilled, shocked and surprised, and we can see
that clearly on the faces and in the actions of the disciples as they are
portrayed in this painting.
Something
very simple and ordinary suddenly becomes full of meaning and significance.
This simple, ordinary action opens their eyes so that they can suddenly see
Jesus as he really is. That is art in action! Art captures or creates moments
when ordinary things are seen as significant.
When
our eyes are suddenly opened to see meaning and significance in something that
we had previously thought of as simple and ordinary that is called an epiphany.
Caravaggio’s painting is a picture of an epiphany occurring for the disciples
on the Emmaus Road but it is also an epiphany itself because it brings the
story to life in a way that helps us see it afresh, as though we were seeing it
for the first time.
The disciples realise it is Jesus when the bread is
broken because Jesus at the Last Supper made the breaking of bread and the
drinking of wine (the Eucharist) into a sacrament. A sacrament is a visible
sign of an inward grace and so it is something more than an epiphany. An
epiphany is a realisation of significance, while a sacrament is a visual symbol
of an inner change. For Christians the taking of bread and wine into our bodies
symbolises the taking of Jesus into our lives. Art (or the visual) then can
also symbolise inner change.
For
Christians this understanding of epiphany and sacrament is based on the
doctrine of the Incarnation; the belief that, in Jesus, God himself became a
human being and lived in a particular culture and time. Jesus was and is the
visible image of the invisible God.
This
belief has two main implications for the visual arts which have been explained
well by Rowan Williams. First, “God became truly human in Jesus … And if Jesus
was indeed truly human, we can represent his human nature as with any other
member of the human race.” When we do so “we’re not trying to show a humanity
apart from divine life, but a humanity soaked through with divine life … We
don’t depict just a slice of history when we depict Jesus; we show a life
radiating the life and force of God.”
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James Macmillan - Kiss On Wood.
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