Robin Osborne and Caroline Vout
One of the challenges shared across cultures and faiths is the intangible, ineffable nature of the divine. One problematic, yet theologically productive, solution to this problem is to embody the divine in sculpture and painting; another is to seek divine aid and attest to divine presence by making votive offerings. In the absence of a sacred text, it was sculptural and graphic representation of the divine that made sanctuaries and temples in Greece and Rome theologically active places. But the need to experience god was not confined to these centers. Greek and Roman gods were everywhere—on coins, gems, drinking vessels, domestic wall paintings. Even when they were not there, their power could be felt in the representation of those who had felt their power. They were as pervasive as they were all seeing.
This article examines how this material culture worked to bring gods and mortals into contact. It does so by tackling three major issues: first, it discusses how a wide range of artifacts, monumental and modest, shaped sanctuary space and guided and recorded the worshipper’s interaction with the divine; second, it looks at images of gods themselves and how these affected epiphany, while maintaining a critical gap and insisting on their strangeness; and third, it uses art to rethink the relationship of religion and myth. Although there are some continuities between cultures, the rise of Hellenistic and Roman ruler cults created a new subcategory of gods, creating additional representational challenges. Out of this came Christ, who was god incarnate. We briefly explore how early Christian artists used the problems of anthropomorphism to their spiritual advantage.
John D. Barbour
Autobiography and biography (which together will be called “life writing”) raise theological questions in ways different from systematic or constructive theology. These forms of life writing tell a story that may or may not be correlated with traditional doctrines. They integrate the first order discourse of symbol and narrative with secondary hermeneutical reflections that interpret and analyze the meaning and truth of religious language. The probing and disturbing questioning in a profound autobiography such as Augustine’s contrasts with the assurances and settled answers expected of theology by religious institutions and communities. Particular religious questions shape specific genres of life writing such as Puritan discourses, nature writing, or African American autobiographies. The theology in autobiography may be either explicit or implicit and involves both questioning and affirmation, as may be seen in works as different as Newman’s Apologia Pro Vita Sua and Edmund Gosse’s Father and Son. Conversion has been a central theme and shaping influence on Christian texts, even when authors challenge this focus and create alternative forms. A central theological question posed by autobiography concerns the authority of individual experience when it contrasts or conflicts with traditional norms asserted by orthodox believers and ecclesiastical hierarchy. In spiritual autobiographies by contemporary writers, we see serious attention given to communal norms for life stories and a search for a distinctive personal apprehension of what is sacred. Autobiographical writing has been stronger in the history of some religious traditions than in others. Yet in the modern world, almost every culture has produced life writing that questions or challenges established patterns of thought and practice. In contrast with autobiography, sacred biography has been an important part of every religious tradition, usually describing an exemplar to be revered and imitated. Its strong didactic interests often curb theological questioning of established norms. While modern scholarly biographies often mute theological questions, some writers raise normative issues and argue for why the subject’s life should be valued. As well as the theology explored within life writing, many works reveal a theology of life writing, that is, beliefs about how this kind of writing may bring the author or readers better understanding of God or deeper faith.
Until the late 20th century, it was widely assumed that visual art could be of only negligible significance to a Jewish tradition that had been principally mediated through written texts. However, by the closing decades of the 20th century, Jewish cultural historians had demonstrated that, while Jewish worship and study is indubitably logocentric, the Second Commandment’s prohibition of the making and worshipping of graven images has not entailed a blanket ban on visual art. Jews have not been uniformly indifferent or hostile to visual art, a category that includes the architectural design and decoration of synagogues; funerary monuments; illuminated manuscripts; embroidery; liturgical seats, pulpits, and the other fittings and ornaments of religious Jewish life at home and at worship; as well as, since the 19th century, drawing, painting and sculpture. Most interpreters now read the biblical texts as prohibiting only the making and worshipping of images of the divine. The Bible forbids idolatry, but is aware that not all images are idolatrous. By around the 3rd century of the Common Era, rabbinical rulings recognized that the danger of Jews becoming idolaters, as they might have done under formerly pagan dispensations, had passed. In short, although in a number of Jewish historical periods and geographical regions there have been good reasons to be reluctant to accommodate visual art within the tradition, there is also ample evidence of visual art in settings that span the entire geography and history of Judaism. Jewish avoidance or neglect of visual art has usually been more historically contingent than theologically necessary. The religious culture of Jews resident in Islamic lands, for example, tended to conform to their hosts’ prevailing, though not historically or geographically comprehensive, tendency to aniconism.
On grounds such as these, it has been argued that the notion of Judaism as an aniconic tradition is a modern one. Kant’s appreciation of the Second Commandment as one of Judaism’s few redeeming features, proscribing any crude urge to see that which exceeds the bounds of sensibility, encouraged western European Jews to advert to Judaism’s lack of art a sign of its pre-eminence as the first enlightened religion. The 19th and early 20th-century claim that Jewish tradition is aural and literary, but not visual, seems to have owed more to the modern German scientific study of Judaism’s use of the Second Commandment to highlight affinities between Jewish and Christian monotheism and to Jews’ desire to integrate into Protestant culture, than to restrictions within their own legal and cultural inheritance.
Perceived violations of the Second Commandment no longer provoke much of a reaction in any but the most conservative Jewish communities. And even among the Haredim, artists have begun to paint semi-abstract pictures that are not considered a deviation from halakhic norms. Yet, while many Jews still regard abstraction as a more permissible form of Jewish visual art than others, it is evident that the art tradition that developed after Jewish civil emancipation in Western Europe has actually been predominantly figurative. A number of scholars have therefore proposed that the Second Commandment has not so much prevented figurative visual art as promoted a distinctive set of styles and techniques, especially those that allow Jewish artists to make images that fulfill their quintessentially Jewish obligation to criticize idolatrous images. Jewish art, it has been argued, exists because of the Second Commandment, not in spite of it.
This essay does not cover Jewish approaches and contributions to film and architecture. It examines both the history and theorization of Jewish visual art and Jewish religious approaches to visual art. The essay uses the findings of this two-pronged enquiry to suggest that Jewish visual art, which is more than art by artists who happen to be Jews, is properly counter-idolatrous art, art that is far from hindered by the Second Commandment but is actively produced by it. Jewish art does more than build cultural, political, and national Jewish identities; it does more than the commemorative work of visually constructing Jewish memory. Visual art made by Jews becomes Jewish when it serves a constructive theological, prophetic purpose and when it uses idoloclastic techniques to produce images that both cancel and restore the glory of the human. This claim counters the prevailing view that there can be no unified or normative theory of Jewish art.
Bissera V. Pentcheva
Hagia Sophia, the former Orthodox Christian cathedral of Constantinople, is the single most important monument that survives from Byzantium. Its daring architecture of cascading dome and semi-domes reflects a unique vision of beauty and power introduced by the emperor Justinian (527–565). Equally impressive is the interior decoration of gold mosaics and marble. Yet, it is the liturgy with its large congregation, officiating clergy, and numerous choirs that brought about the effect of being transported to a place in between heaven and earth. Within its walls, a rich multisensory experience was created through the integration of architecture, music, acoustics, and liturgy. The material fabric of the building and its acoustics together with the liturgy performed by Hagia Sophia’s officiating clergy and the chants sung by the choirs formed the character of the cathedral rite. The architectural form and ritual performed in this space harmonized with the Byzantine philosophical and mystagogical explanations and enabled the religious experience of nearness to the divine.
Elke Anna Werner
In the mind of Martin Luther, images were first and foremost adiaphora and, as such, neither good nor bad. However, Luther spoke out firmly against the worship of images, as did other reformers. Based on his own anthropology, he countered the misuse of images by suggesting correct ways of using them, on the basis that man could only discover true faith through the mediation of images. For many years, researchers emphasized Luther’s negative attitude to images as a medium and highlighted the shift from a pre-Reformation culture of piety to the reformatory emphasis on the Scriptures. However, more recent examinations of liturgical practices and the link between art and politics, involving innovative methods, as well as some degree of imagination, have not only traced the development of a specific visual culture in Lutheranism but also highlighted their identity-creating function in denominational conflicts.
What follows is an overview of the major image and media categories as portraits, allegories, altarpieces and epitaphs which influenced the visual culture of the Reformation. Lucas Cranach the Elder (c. 1472–1553) and his youngest son Lucas Cranach the Younger (1515–1586) were at the very center of this activity, together with their productive Wittenberg workshop. From the very beginning of the Reformation right through to the 1580s, both liaised with Luther, Melanchthon, and other Wittenberg reformers, respectively accompanying and decisively shaping the development of Protestantism with their pictures. What is more and of equal importance, the influence of their work is reflected in the popularity of their style in Protestant territories throughout the Empire during the 16th century.
From the beginning of the Reformation, Martin Luther had a significant impact on church and society through his contributions to sacred music. His intention to spread the gospel among the people through song achieved its manifold purpose. This remains true not only for his own time but for the following centuries up to the present day, all over the world. Other poets, contemporaries and descendants alike, were inspired by Luther’s songs and composed their own hymns. Among these the most significant ones in German literature, poetically and theologically, are Paul Gerhardt (1607–1676) and Jochen Klepper (1903–1942).
Luther’s lifelong love of music was accompanied by an in-depth musical education. He knew secular and sacred songs from an early age, played the lute well, and sang in the convent when he was a monk, as a husband and father with his family, and as a professor with his students. Music was an indispensable part of his life. He first began writing sacred songs in 1523, sometimes composing the melody as well. He also crafted a four-part motet.
Luther was able to assess the composers of his time well. He considered Josquin des Prez (d. 1521) the greatest master, and among his living contemporaries he appreciated in particular Ludwig Senfl (c. 1490–1543). He was also acquainted with other composers and their works.
The incorporation and promotion of music in the schoolroom resulted in a close relationship between church and school, as well as between classrooms and religious services. Pupils took part through chanting at services, and the evangelical hymns in the chantry were spread through the choir’s chanting books. Numerous musical prints originated in Georg Rhau’s printing shop in Wittenberg that carried the Protestant repertoire into the world.
From central Germany, starting in Saxony and Thuringia, the Protestant musical culture covered all of evangelical Germany and later shaped Protestant musical culture. In addition to choir-related music, it cultivated the musical rendering of biblical texts.
Heinrich Schütz and Johann Sebastian Bach are the finest representatives of this specific Protestant musical culture. In addition, the culture of the organ, first cultivated in northern Germany, became widespread. One of several masters of the organ was Dieterich Buxtehude (c. 1637–1707), who established evening concerts in Lübeck, which in turn served as precursors to the bourgeois musical culture.
Luther’s approach to music is formed through the conviction that music is a particularly beautiful and unique offering of the divine creation. Music moves human hearts and allows them to anticipate the heavens. To bring people joy and to praise the Lord is music’s true task and, indeed, its service.
In the history and prehistory of human societies, poets, prophets, and seers (the word vates can cover all three) have often been virtually indistinguishable from one another. From time immemorial, their respective activities overlap and interpenetrate to such an extent that prophets (or mantics or seers) and poets have been closely associated and tend to completely coalesce in many of their functions and modalities. The Sanskrit word kavi (like its Latin cognate vates) embraces both. A certain strand of ideology running through the Bible (at least as interpreted by classical rabbinic texts) aims to drive a wedge between God-inspired prophecy and humanly created poems. Nevertheless, the Hebrew word nabi for “prophet” means “bubbling forth, as from a fountain,” so the vocabulary of the Hebrew Bible, too, is naturally apt to suggest the creative fecundity of verbal imagination. In fact, Amos, Isaiah, Elisha, and Ezekiel frequently produce parables, proverbs, and even love songs.
In primordial cultures, with only minimal social stratification and differentiation of roles, long before any specific mantles as either prophet or poet can be identified and donned, a figure like that of the shaman or even the wizard (Merlin, for example) is often emblematic of a certain undecidability between religious revelation or spiritual experience and creative imagination and invention. Of course, in modern cultures, with their highly differentiated social roles, theological revelation and poetry are typically seen as distinct and often even as opposed to each other in crucial respects. Yet the two still need to be understood together as reciprocal and symbiotic in their origins, aims, and purposes. Throughout subsequent history, the deepest intents of literary and religious practices remain inseparable from each other in their myriad manifestations within our cultural traditions and institutions; they thus stand to be illuminated by such a juxtaposition. Poetry and prophecy together comprise the common matrix of some of the oldest and most fundamental modes of expression of humanity across cultures.
Craig R. Prentiss
With the slow realization that race was not a category in nature, but rather the fruit of social imagination emerging from colonialism, scholars in the late 20th century shifted their focus to the cultural elements feeding that imagination, including religion and the arts. Although most studies in the field address fairly conventional constructions of religion and the arts (two categories that, like race, have also been destabilized), some studies reveal the potential for these three categories to be co-constituting. Studies addressing religiously themed music, including spirituals, gospel, hip-hop, and a significant portion of country music, have shed light on the ways in which these genres encode and inform racial paradigms. Portraits in theater, dance, and film of ideas and practices associated with Christianity, Judaism, Buddhism, and other social groupings have proven active sites for the production of influential, and often competing, conceptions of race. Stereotypes linking religious and racial classifications are perpetuated as well as challenged in these artistic media. Given that the racial imagination in the United States is articulated using the language of color, painting and sculpture have been instrumental in conveying vivid connections between race and religion. For instance, many paintings celebrating Christianity’s triumph over America’s indigenous people concurrently depicted white dominance over them as well. A theological system rooting skin color in divine decree, like the Church of Jesus Christ of Latter-day Saints did in its Book of Mormon, helped assure a fair-skinned and fair-haired Jesus would populate its art. The politics of Jesus’ color continued to be played out in painting and sculpture in the United States to the present day, and exemplifies the interaction of racial, religious, and artistic categories.
The artworks under discussion detail the scope and breadth of art that can be described as spiritual by virtue of its revelatory, revitalizing and contemplative capacities. Rather than interrogating the relationship between art and religion, more pertinent questions in the contemporary age are: What is the nature of the dialogue between art and spirituality, how do the two come together, and what form does the meeting take? The range of multimedia brings novel forms of encounter that occur outside the gallery and other spaces and involve audio-visual and other means of articulating the spiritual. These new forms make different demands on viewers; they create greater intimacy (often through immersion), both physically and psychologically, and one of the consequences of having greater intimacy can be a heightened awareness that increases presentness and a sense of embodiment. What we learn is that there are potentially as many interpretations of spirituality as there are viewers.
The Revelation of Jesus Christ, or the Apocalypse of John, has been extraordinarily influential in Christian life and theology. For example, because of the many hymns sung by the heavenly host, Revelation has, like Isaiah 6:3, been particularly influential on liturgy and also music, for instance, the setting of Revelation 5:12, “Worthy is the Lamb that was Slain,” in Handel’s Messiah. It is one of two biblical apocalyptic texts (the other being the book of Daniel in the Hebrew Bible). Apart from the opening words, a dominant theme of Revelation is prophecy, and its imagery emphasizing what John “saw” on Patmos suggests that the form of prophecy in the first century