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Contents Preface A. Art and Society 1. The present-day art boom 2. The function of art in society

B. Art and the individual: how does art affect persons?

C. Art and the 1. Points of contact between “art and religion”

2. Points of contact between “art and Christian faith” 3. “Art and the church”

Art from the Christian point of view – by Beat

Rink

Translation: Bill Buchanan © Crescendo, 2009

Statement by the Swiss Evangelical Alliance, Arts+ and “HOPE FOR ”

Approved by the Central Committee of the Swiss Evangelical Alliance (SEA-DS) in March, 2009

About the author: Beat Rink has studied at the university of Basel history, linguistics, German literature and theology (MA 1983 / Mth 1992). He is an ordained of the Swiss reformed church. In 1985 he and his wife have founded “Crescendo”, an international ministry of CCCi (www.crescendo.org ), which is active in many countries. He is co-founder of Arts+ www.artsplus.ch , a network of art ministries. Beat Rink is writing poetry and books about art and theology. He is editor of the magazine CRESCENDO (download copies on www.crescendo.org ) 1

PREFACE thinking on a more relevant and Many Christian churches have deeper level, primarily discovered the importance of theologically, on the subject. various forms of art in recent years –going beyond the previous The present statement is conceived use of organ and worship music. as a sketch-like and provisional This is true at least of protestant attempt to illuminate various facets churches, while the and of the extensive topic “art” (using Orthodox churches have always this term always as applying to all attached a different, in some branches of the arts), constantly cases higher, value to art. bringing in the Christian perspective. The multiplicity of This rediscovery has been individual topics has been welcomed in established and subdivided into three areas: “Art independent protestant churches and society” – “Art and the and, for obvious reasons, not individual”– “Art and the church”. least by artists themselves. At the It is inevitable that many questions same time, church leaders and will not be addressed at all, while members have often expressed other recur repeatedly and lead to the wish to be helped towards a a certain amount of overlapping deeper understanding of the amongst the chapters. “Defining it phenomen “art”. is a work of art in itself”, the Polish aphorist Stanislaw Jerzy Lec writes. Amongst Christian artists, new This quip has something initiatives have grown up in comforting about it, reminding us various countries since the 1980s, in advance the impossibility of mostly in the form of understanding creativity in any interconfessional movements. way other than as a gift originating This was also the case in in God and defying all our attempts Switzerland, which is also where to pin it down intellectually. Arts+ was founded in 2005 as an alliance of Christian cultural initiatives. Discussions conducted in such artists’ movements and networks centre around such topics as the “self-conception (and the daily experience) of makers”, “aesthetics and theology”, “ethics and art as a business”– or generally: “The Kingdom of God and culture”, thus also returning Photo: Crescendo frequently to the relationship between “art and the church”. The process reveals a need for

2 A. ART AND SOCIETY

1. The present-day art boom

The starting point for our considerations is an observation: art is an increasingly significant factor in our society, as is shown by the growing importance of popular music1, design, fashion and film. Our feeling for life is Reasons for the Boom largely determined by aesthetics

– or, putting it another way: as 1. Economic reasons: The more never before, artistic creativity prosperous a society is, the permeates all sectors of our life more intensive the aesthetic and appeals there (not least in feeling for life and the more order to make products sellable) many-sided the culture on offer. to our sense of beauty. This is Art is, moreover, a capital confirmed by the fact that the art investment, and culture offers market is booming – even in opportunities for sponsoring and economically less than rosy times. marketing. Large scale cultural events attract mass audiences, whether in pop 2. Sociological reasons: The concerts, film festivals or museum artist enjoys a status previously nights. The media devote accorded to other professional attention lavishly to the topic “art groups – including the clergy. and culture”. And, finally, culture The booming art scene also has become politically more offers a platform for social important: no party programme contacts. seeking serious attention can afford to side-step culture politics. 3. Ideological reasons: The reasons for this art boom are Postmodern man is sceptical multiple: towards all conventional

“ideological concepts” and intellectual contents, and therefore receptive for impulses from a direction which is not ideologically suspicious to him. It is in fact one of the trademarks of art (or of the preconceptions about if) that it 1 One distinguishes “serious” music [German: is considered intrinsically critical E-Musik] and “entertainment” music [German: U-Musik]. This distinction and, above all, the of ideologies. But: even where it strict separation of the two areas is not plays no role in interpreting or unproblematic. One need only reflect how superimposing meaning, it much of today’s “serious” music served as offers its aficionados a place of entertainment at the time of its composition. 3 “beauty, truth and goodness” 2 The way that art, in the process of and thus an “aesthetic home”. secularisation, has lost its The secular art scene can in connection with the church and has such cases assume almost often taken on religious religious traits: in this, it characteristics itself should be seen continues a long tradition with critically, but also self-critically, on roots above all in the Romantic the Christian side. It period. is true that the church has been an 4. Psychological reasons: man important source of work and a is searching for holistic spiritual home for many artists experiences – often as a over the centuries. But, at the compensation for his place of same time, the freedom of artists work, where his personality is has been cut back in the name of reduced to functionality. He narrow dogmatism; artists left the often finds such holistic church, without the church experiences in his free time – showing concern for them and and this also means in art. inviting them to share in a dialogue. The result was a growth The art boom from the in secular circles (and sometimes Christian point of view in liberal churches) of “art religion”, countered only by

amateurish art on the church side, The mounting interest in the arts which only aggravated the should basically be welcomed. Art alienation between art and church is for a gift of God with fellowships (see section C). “image” characteristics, a human ability reflecting the divine Counter to its many positive Creator. With its aesthetic form effects, the art boom has brought (aisthesis = (originally) problematic consequences where perception), art speaks to the artistic work (and the artists senses. It is its “beauty”, for themselves) is subjected to the which we have the deepest of forces of the “art market”. These longings and sensitivity, that forces can, e.g. even during touches us. The resulting holistic training, lead to mental stress and experience provides an important a competitive atmosphere counterbalance to all damaging to creativity. Recent materialistically or intellectually studies show, for example, that truncated pictures of man. 3 more and more orchestral musicians and opera singers can 2 This is an old triad of terms often used in only stand up to professional relation to art. pressure with the help of doping.

3 It is a fundamental element in the self conception of the Christian faith that it is anchored in concretedly experienced events and not in an inner religious world or in a “believed dogma”; for “the Word hands”, see 1. Joh.1,1ff. There are thus no became flesh” and was “heard”, “seen good theological grounds for a polarity with eyes, beheld, and touched with between “senses” and “faith”. 4 2. The function of art 2. Art as cult: in society Every religion is familiar with artistic expression. In heathen In the western world (which is cults, dance, music, theatre and our main concern here), art were also (and are) has carried out important practiced. Art aims to make functions in society for a long some kind of experience time now. The art boom possible to of that which is mentioned above must be seen unseen (or believed). Its in the context of these factors. capacity to represent something Here some of them are in concentrated form has been summarised: of value to cultic and magical thinking since the days of cave 1. Art as a factor in the painting. history of ideas:

Art – principally literature, music, , architecture and painting – has been an important factor in the history of Western ideas since classical times. Artists are often pioneers of new directions in ideas and life patterns, giving impetus to the search for truth. We can hardly imagine any period without the important contribution made by the arts. However one may define the interaction between art and philosophy or between art and 3. Art as a factor in other forces in society creating community: (economy, politic, the sciences etc.), the arts are a catalyst, Taking pleasure in art brings and sometimes even a motor, people together, whether in in the field of ideas and, concerts, theatres, museums or indirectly, in developments in cinemas. It forms an important society generally. This is also part of communal activity in true where art is mainly free time. The arts can intended for small but contribute to a sense of influential groups. The theory identity: one need think only of of the “downwards national epic poetry, national dissemination of cultural anthems, folk song and other goods” refers to the works that belong to the significance in the long term of cultural resources of a social path-breaking works of this group (including religious kind for wider circles as well. communities).

5 4. Art as a place for effective art work in different recognition and reflection: areas of life.

It is one of the fundamental characteristics of art that it The importance of art in trains perception and beckons society - from a Christian us to new ways of seeing, perspective: hearing and thinking. Provocation directed towards In Christian circles, the deep old habits of seeing or hearing alienation between the church and has been (and still is) often art and the art world is not interpreted as an insult against sufficiently noticed. tradition and as rebellion Furthermore, anti-secular reflexes against convention. make it difficult to reflect on the role and relevance of arts in 5. Art as a place for personal society (see point 1) . development: But in fact the Christian faith The preservation, exhibiting itself is an ideal nutritional soil and re-interpretation of old for the arts to grow in. How can works trains us in perceiving we reconcile these statements? the past. From works of art, it Although one cannot claim that is possible to read where a there is a general link between society is coming from, what artistic achievement and personal gave it its identity over long faith, we can agree with Emil periods or what has left a Brunner when he says that “a discernible impression on it (at world, a society in which religious least below the surface). Art belief dies out will in time also challenges us to examine this suffer artistic decay.” For “no art identity critically. Not least, it will be able to continue flourishing is of central importance that in a soil in which humanity has art should be brought closer to dried up. Where people are no people in certain contexts, particularly in schools. Good art also contributes to “personal development” or to “civilised bahaviour” in the broadest sense.

6. The contribution of art to public areas:

Art brings beauty into public areas. In the same way that no attractive living areas are imaginable without good architecture, it is impossible to longer capable of great feelings, conceive of a society without where their intellectual horizon has 6 lost that broad sense of the non-religious relationship with art infinite, and where their is thus only possible in an understanding of life is devoid of environment where the wrong any metaphysical or religious kinds of interweaving of “the depth”, art will become superficial Kingdom of God” and “secular and degenerates to virtuosity. 4 domain” have been removed.7

In a society bearing a If the Christian can gain insight Christian imprint, the into such relationships, his art conditions for the unrestricted could help to prevent, precisely development of art are in the name of faith, the particularly good. misleading of people with For it is only in the Christian religious or ideological ideas. western world, after all, that a Tendencies to mislead in this way separation between the secular occur especially where art is and religious areas is known – intended to create a sense of despite all the mutual influence identity (point 3). In the worst and occasional interpenetration of case, art is threatened ethically by the “two kingdoms”. 5 Just as a binding with the wrong powers natural science is only possible in and aesthetically by a lapse into the context of a faith which does kitsch (as a concession to not recognise any gods of nature, communal taste) or into plain art can only develop freely where propaganda. 8 it is released from any kind of cult function. Although invited to work New ways (see point 4): Art must within the church, it must never be granted the right to go new be allowed to become a “cult” ways. Christian faith is of itself or take over any kind of course familiar with the idea of “cultish-magical” role (point 2) . historical development and Then artists are no longer therefore also knows about the surrounded with an air of cultural task of art. 9 This cultural “religious” consecration, whether in the church or in the secular artist. It appears e.g. where artists are domain, and are not subjected to consulted like “prophets” by representatives pressure to become “modern of the media and are expected to give 6 prophets or priests”. A healthy, answers of universal validity. 7 Secular does not mean directed against 4 Emil Brunner. Christentum und Kultur, God. The secular sphere can be thoroughly Zürich, 1979, p. 268. permeated with knowledge of God’s 5 The idea of the “two kingdoms” was used ordinances. by Luther. in his day had already 8 This is visible where dictators have sought drawn a clear boundary between his to force compliance on creative artistry. For Kingdom and that which “belongs to the cultural policies in the Third Reich or in Caesar”. This does not contradict the Stalinism, even nonrepresentative art or commission to proclaim God’s Kingdom modern music was considered subversive. and to mix it like yeast with the world – 9 The Christian – as indeed the Jewish – including the culture world. faith understands history in terms of the 6 It is indeed incontestable that art can perspective of salvation not as static or, as take on prophetic qualities. But what is in eastern thinking, as cyclical, but as meant here is a widespread image of the movement and transformation – although 7 task includes using art to break scene. In the name of “artistic up embedded patterns of thinking autonomy”, some branches of and perception. This also applies art take pleasure in a constant to the contents of the , to breaking of taboos in a way which each epoch and every that, in normal public life, generation must find its own would seen them punished by access. To this extent, sacred the law a long ago. (i.e. art dealing with “Christian” subjects) must Here we need a theologically also be provocative when it is differentiated view of things. On concerned with clearing the the one hand, art should not be way to matters of faith. censored, unless it is deliberately calling on people to behave as racists or if hurts religious feelings in a massive way. Every call for artistic censorship must be answered by pointing out that art fundamentally takes place in a “fictitious domain”, in a game with different “roles” and “voices” which are in no way identical with reality or with the opinions of the artist. A careful interpretation is therefore called for! The modern understanding of autonomy sometimes joins the poet Charles Baudelaire in claiming that genius

can (no, must!) place itself above There is then a danger, of course, all social and moral norms – that art may slip into a role of whatever serves the cause of art is permanent provocation for the allowed. reason that there is success and market potential in this. In this context, we must call into question the present-day understanding of artistic “originality”, which is derived equally from the idealistic cult of genius and from the concept of artistic “autonomy” and freedom. The addiction to “ingenious” Charles Baudelaire originality occasionally assumes bizarre dimensions in the art Discussion is also needed regarding the statements by the not in the sense of a humanistic faith in Catholic theologian Hans Küng progress. Cultural changes are part of when he demands an “autonomous history. It is the task of man to shape literature, bound to no authority or history and culture. One can therefore rule (other than aesthetics)”. This speak of a cultural commission, acting on stands in dichotomy with his Christian tenets, for creative artists. 8 idea that ultimately no area today! A Christian view of art can be excluded from the cannot concur with him. For it relationship with God and his must take into account the lordship. Christian artists, at profound fallenness of man, for least, will not raise such which not even the greatest of claims of absolute autonomy. artistic pleasures can compensate.

The role of education (see 5 and 6): Art is without doubt an important source for knowledge of history and for an understanding of our culture. To what extent, though, does it contribute to “civilised behaviour”? This Dietrich Bonhoeffer question has occupied thinkers and poets for centuries. While Christian should instead take a Plato wished to banish the “mad” lead from Dietrich Bonhoeffer, who poet from his ideal state, Friedrich wrote as follows on the “feeling of Schiller was of the opinion, more quality” in his book "Widerstand than two thousand years later, und Ergebung": "All the way along that art transported man into an the line, it is a matter of “aesthetic” state in which alone a rediscovering covered-over free decision for the good is experiences of quality, so that possible. things can be placed according to their quality. Quality is the greatest enemy of the stereotype. In relation to society, this means abstaining from the chase after higher positions, breaking with any kind of star cult, keeping vision free upwards and downwards, Friedrich Schiller especially as far the choice of one’s closer circle of friends is For “only here do we feel torn concerned, rejoicing in the hidden away from time; and our life as well as having the courage humanity expresses itself in all its for public life. Culturally, the purity and integrity, as if it had experience of quality means never suffered any loss through returning from newspaper and the effects of external forces” radio to the book, from haste to (“Letters on the Aesthetic leisure and quiet, from sensation to Education of Man”). In the time reflection, from the ideal of between the great minds Plato virtuosity to art, from snobbery to and Schiller, thinkers widely modesty, from self-indulgence to separated in both time and moderation. Quantities compete content, – and naturally with each other for space, qualities continuing beyond the latter – this complement each other." topic has been intensively debated. In the process, Schiller’s These words were not uttered on idealism still produces offspring art, but they are relevant to our 9 theme. Art, we can conclude from themselves. Every answer shows this, offers an experience of signs of the view of man held by quality and thus also a way the thinker involved. Here we are out of an unhealthy attitude to not concerned with a life. It is not the aesthetic comprehensive listing of all the experience itself, however, but various answers, but only those the co-operation of one’s own will which particularly underline the that brings the desired fruit. This Christian view or – not less is an important point: the effect interesting! – those that challenge of art – including its own it. ethical effect – is decisively influenced by the recipient. 10 This applies also to art dealing with spiritual subjects, especially to art in the church, where the expectations of the believing recipient play a role.

The recipient in this case does not primarily want to enjoy the work of art as such, but brings to the piece of , to the altar painting or to the stained glass a readiness for contemplation and for a meeting with God.

What effect does art have on an individual? The preceding sections have touched on this question here and there and suggested answers. But one could equally easily start at another point, with the question “Why does art exist at all? What needs does it address, that mankind should gave produced art in all ages?”

The most diverse branches of Photo: Crescendo science, such as philosophy, psychology, theology and, of course, scholars of the fine arts and culture studies have pondered the matter thoroughly – as have, not least, musicians, poets, painters and film makers

10 In communication theory, the recipient is one who receives a message. Applied to art, the term refers to a listener, beholder or reader. 10 B. ART AND THE (satire, burlesque, operetta, musical, parodie – going as far INDIVIDUAL: HOW as Dadaist silliness) or by the DOES ART AFFECT ebb and flow of tension in an exciting story. PERSONS? 3. The enjoyment of art as a 1. Art satisfies the thirst for process of purification and beauty. Beauty also has liberation: in his famous something to do with poetics, Aristotle speaks of the “aesthetic order”. This can purifying effect (= catharsis) of have healing influence (e.g. tragedy. This takes place where in music therapy). fear and sympathy are induced: in practical terms, where the 2. Art is of service in 11 audience gets goose-pimples “delectare”, i.e. in joy and and wet handkerchiefs. relaxation. A phrase often According to Sigmund Freud, art heard today is: “The question results from a process of now is not which book we want sublimation, drawing its energy to take with us on a desert from the transformation of basic island; a good book is an impulses and reaching out to island already.” fascinate the beholder. Modern psychologists 12 think that we value the ambivalent (= capable of various interpretations) character of the arts because we recognise in this the ambivalence of our own life and thus experience something liberating.

4. Art as a means of solving Photo: Crescendo problems and as a place to seek truth: other Merely to enter another psychologists 13 see art primarily “sphere” of music, film, poetry as a means of solving problems, or painting releases the mind helping a person to develop his and senses from (perhaps own attempts at solution. Many oppressive) everyday statements about art agree with experience and is thus related this: in every great work one to play. Greater joy and can sense suffering in the relaxation is achieved by confrontation with reality and a adding various forms of humour or the “light Muse”. 12 Thus Udo Rauchfleisch in his book “Musik schöpfen – Musik hören. Ein 11 “Aut prodesse volunt aut delectare psychologischer Zugang .” Göttingen, 1996” poetae”, Horace declaims in his Poetics. 13 Heinz Hillmann, Alltagsphantasie und “The poets want either to create something dichterische Phantasie. Versuch einer useful or to give pleasure.” Produktionsästhetik . Kronberg, 1977. 11 searching for truth – usually and turmoil, celebration and for the ultimate truth. comfort.

Some remarks following up The Christian perspective: this theme: Beauty (see 1): the striving for 1. The artistic struggle for “beauty” is a fundamental “truth” cannot be separated constant in the human from the struggle for the right constitution. “Beauty” is one of form. It is not unusual for this to the central features of art. This become (apparently) the primary term is considered out-of-date in concern. One then perceives the current discussions of art, artist as a person obsessively however, because it is too vague pursuing one particular and and of too little importance in seemingly subsidiary goal, determining artistic quality. For, on resisting all calls to turn his the one hand, the perception of attention to “more essential beauty is subject to change in the things”. Here we must bear in course of time. On the other hand, mind that the artist has taken there are also the “aesthetics of upon himself the task not only of the ugly”, for example in artistic “naming” the truth he has representations of evil. recognised, but also of putting it into a new work such as no-one Consequently, in a great work of has seen before – and that also art the ugly can dominate, while in means: in a new language, new a less successful work the music, a new colour, figure or “beautiful” may be prevalent. The movement. knowledgeable Christian art lover in particular is familiar with this 2. This realisation, if it is not distinction: the representation of to be a copy, is a the Cross can never be “beautiful”, fundamentally but can nevertheless have great original expression of an artistic value. 14 individual artistic personality and is perceived and Nevertheless: “beauty” is an interpreted by the world in a important theological and aesthetic quite particular way. This “new category. God’s person and action work” then challenges the listener are unthinkable without “beauty” or beholder to set off on his own (or “glory” 15 ). At the same time, journey of discovery in a small “beauty” in the Bible – from the “universe”. Creation through to the New Jerusalem – is never “l’ art pour l’ 3. Because “authentic” and “truthful” art of this kind can 14 be experienced and does not See the prophetic text in Isaiah 53, 2b: appeal only to the intellect, it “he had no form that might have attracted us ”. affects the recipient 15 holistically, reaching the The work in several volumes dedicated to aesthetics by the great Catholic theologian deepest levels of his person; it Hans Urs von Balthasar correspondingly captivates and moves, brings joy bears the title “Herrlichkeit” [“Glory”]. 12 art” [“Art for art’s sake”], but an contrary to the message of the Eu- expression of love. 16 A view of angelion (eu = joyful, euangelion = “beauty as love given a form” 17 )! This is one more reason would be valuable precisely in our for agreeing with the view voiced time, with its tendencies towards by the theologian Helmut Thielicke self-complacent aestheticism. in his “Ethik” [“Ethics”] regarding art: “Because we are looked after, because we are protected, because the cares of tomorrow are taken from our shoulders, we are free “today” to play, free “for a moment” to belong to the “moment” without constantly forcing ourselves to fix our gaze on the transcendant purpose lying beyond this moment.” In this playful freedom, there is also an opportunity for a “new approach”: Photo: Crescendo whether on the part of the artist, capable of visionary thinking, or on Joy and relaxation (see 2): the part of the recipient, his “Joy” is also a central fantasy stimulated, who no longer Christian category. But, experiences his reality as life with unfortunately, precisely the a rigid structure, but as something Christian church considered that can be changed. It is one of the “light Muse” suspect for a art’s properties, anyway, that (like 18 long time. They hardly had a playing) it permits “open place for “delectare”, quite processes”, in which those who are interested in art can take part. 19

16 There are precise theological studies on From a Christian point of view, this, e.g. by scholar Claus this freedom, and with it the Westermann. 17 This phrase was coined by dressage privilege of the artist to create trainer Fredy Knie. without defined purpose or 18 In the adiaphoristic controversy, being under “economic” Lutherans and Calvinists debated over constraints (and to be worldly pleasures such as dance, fashion supported in doing this), is to and music. The Lutherans considered these be valued and defended, things to be harmless adiaphora (ethically including on the cultural neutral, “middle things”), while the political front (this is also Calvinists held them to be sins, an idea relevant to point 4 ). At the same which left its mark on EnglishAmerican time, a view of art based on Puritanism. This was the view taken by Christian tenets, and which is also Pietists in Hamburg in response to the expressly open to the concept of building of a theatre, namely that going to “delectare”, has every right to the theatre or dancing, use of tobacco and attack the lack of standards and similar worldly pleasures in themselves are sinful, and are not made sinful only when misused. This attitude is still encountered 19 See Umberto Eco’s important term, the in presentday Pietism. “open work of art”. 13 moral decadence such as those of the artist as a pre-condition. It (e.g. in the comedy shows) that can also be that a Christian swash into our living rooms daily. attitude lies behind it. A Christian is called anyway to solidarity with Liberation and truth-seeking those that suffer. His radical (see 3 and 4): This is not the approach to creativity can place to go into the theories of therefore be a direct expression of the creation and effects of art his love for his neighbour – or already referred to. In today’s equally well of his love for God, to discussion, however, it is clear whom honour should be paid with that the Christian perspective is art of only the best quality (and generally missing; for example, this means, of course, with quality the possibility of an “inspiration” often achieved at a great price). A is completely ruled out. Why proviso: when a Christian portrays should this Christian perspective the reality of suffering, it should be important? It is self-evident not be forgotten that in the final that any theory has consequences analysis his existence is for the artist’s view of himself. To characterised by hope, and this name an example: the centuries- must automatically leave its mark old idea that artistic genius must on his work. be either close to madness or at least produce work stemming Another tendency in today’s art from a profound tragedy in his results from the concept of biography has had fatal individuality prevalent in our consequences for many artists times. In (4) we spoke of an regarding their concept of life- individual component which style. 20 It is therefore all the more belongs to every good work of art. important for other artists to This can however be tied to an provide counter-examples and to exaggerated concept of self or show that not every work that desire for originality – or with a speaks about suffering and radical despair over a handed- injustice and which battles for the down “language” which can no truth – and consequently also for longer do justice to the inner the appropriate artistic form – experiences of the artist. Then requires the personal desperation incomprehensibility threatens: the artist speaks such an individual 20 "It is demonstrably clear, statistically language that communication with clear, that the larger part of the art of the the beholder, reader or listener is last halfmillenium are overreaching subject to massive disturbance. 21 productions by psychopaths, alcoholics, abnormals, degenerates, with protruding 21 In the wake of the will to artistic ears and coughs: that was their life, and in autonomy (also under the influence of the Westminster Abbey and in the Pantheon modern theory of knowledge, initiated by their busts stand, and over both stand their Kant, and later of psychoanalysis), one can works: unstained, eternal, blossoms and observe in the arts strong individualistic brilliance of the world." (the writer tendencies, a refusal to accept the general Gottfried Benn). The Swiss German view of things, as e.g. in the lyrical poetry scholar Walter Muschg wrote his much towards the end of the 19th century or acclaimed “tragic history of literature” Surrealist . Art is without doubt under this guiding thought. entitled to create at will artificial “worlds” 14 Along with the modern (and also post-modern) inclination to a To name some of these points culture of the self, this tendency of contact: art and religion has to be called into question promote community. Art and from the Christian perspective. religion are concerned with the “inner reality” and the “hidden truth”. Wherever, on the C. ART AND THE contrary, they become primarily concerned with surface effects, CHURCH they deny their own essence. Art and religion are holistic and 1. Points of contact therefore convey more than a between “art and truth to be grasped purely religion” intellectually. No-one goes into a church, concert-hall or museum in order to “understand” in a purely intellectual sense. This is also reflected in the fact that art and religion reckon with sources of inspiration that lie outside one’s comprehension and are not at one’s own disposal. They are open for the spiritual, and directly or indirectly for God’s Spirit.

Not only in are

there many points of contact between art and 2. Points of contact religion. Without art, no cult, between “art and no divine service and no Christian faith” Christian church history is conceivable. On the other There are also points of contact hand, the conductor Nikolaus between (good) art and the Harnoncourt can say that “I Christian faith, regardless of believe there is no artist who is whether this art was created by not a believer. Not necessarily a Christian or not: creative in a denominational sense. I artists know about the inner can think of absolutely no connection between love and really important artist who beauty anyway. 23 In both areas, really believes that his the “general” is relegated to the outstanding abilities are due to background behind the himself.” 22 “individual”: divine love creates decoupled from external reality. It must 23 The Hebrew word for “good” (“and God nevertheless be prepared to be asked what saw that it was good” in the story of the the price of this is. Creation) also means “beautiful”. God 22 In an interview in the SPIEGEL of 9th creates for his creatures, in love, a good and February 2009 beautiful space for living. 15 individually 24 and is directed manipulating, present the primarily towards the biblical message in an individual. Every work of art is interesting way and spur us on unique and sharpens our to meditate and believe. Think perception for the individual of masterly paintings from and particular. 25 Love and Rembrandt to Chagall! Think of beauty know of the mystery of C.S. Lewis! Art can help to calm the “incarnate”: that the spirit our thoughts and open us to takes on tangible form. Both God. Think of the architecture of point towards the New meditative church interiors! Art Creation and to new creating. can touch our deepest self and make us receptive there for the 3. “Art and church” working of the . Think of David’s harp playing! Art can a. Art in the service of the give the church a language for church dialogue with the world. Art can, finally, shake the church into life and speak with a message of orientation for our times. The church could look after this valuable heritage and do more once again to show appreciation for the artists (and agents of art) amongst its own people. The heritage of Christian art has been forgotten all too often by the church, and in many places it has “survived” thanks only to the secular art scene: in “secular” museums, concerts or publications. 26

A glance at the history of art and of the church reveals a truth: art produces beauty, and can thus praise God in a special way and lead us into praising God. Think only of the music of Bach! Art can, without 26 There are more than enough examples of this. We are seeing today, e.g. in the secular 24 “Each according to its kind” is God’s art scene, a veritable “Bach boom”. Bach’s creative principle. works are, however, mostly treated as 25 Whereas works such as Andy Warhol’s, “purely music”. One generally takes no which result from an entirely series notice of the meaning of the text, which is production process and usually make the an extremely questionable procedure on the individual subordinate to the general, are artistic level alone – a fruit of the disunion hardly great art. between church and culture. 16 to the church. (See the so- called “cultural ”, b. The church’s skepsis which was theologically not towards art without its problems. 28 ) Sharp conflicts grew up where art obviously (or seemingly) damaged the cause of the church.

Accusations made by the church against art were: luring into idolatry, distracting from the essential, concentrating attention on the work of man’s hands instead of spirit-led inspiration, unorthodox and heretical representations of spiritual subject matter … On top of that, there grew up a skepsis towards artists and their way of life. To name some of

these prejudices: in artistic circles an all-too free life style is In the iconoclastic controversy, 29 the Orthodox Church battled usual. The artist places his for its . The

opposed images – and, under 28 Regarding Friedrich Schleiermacher’s its banner of concentration on “cultural protestantism”, the theologian the Word, to an extent music Hans-Eckehard Bahr observes (in: Poiesis. as well. The church of the 17th Theologische Untersuchung der Kunst ) that century condemned Baroque it is "a true initial observation ... that not novels. Earlier Pietism only faith, but also aesthetic emotion, prohibited going to the theatre, represent a mode of holistic affective and practised a certain kind of experience. If one assumes this to be a deliberately unartistic aesthetic purely subjective experience, one is misled in its church services. 27 The by this formal analysis into equating, with church of the 19th and 20th devastating consequences, quite disparate centuries generally came to matters. It is clear that, if the basis of our terms with the emigration of analysis is the perceiving subject alone, faith the arts into the secular is reduced to religious psychology and the domain. There were in fact complex of questions surrounding art to attempts at bridge-building, aesthetic experience." 29 In fact, it cannot be denied that it is such as the Catholic normal in artistic circles to break at an early “renouveau catholique”, which stage with middle-class (and Christian) probably owed its existence moral concepts, and that a libertine life-style more to individual artists than is widely seen as part of the accepted way of doing things. The accusations levelled in 27 These battles were accompanied by this and the next section are therefore to an interesting theological debates whose extent justified. Problems arise when they repercussions are still being felt today. are generalised and lead to a demonisation 17 work at the centre of attention extent can one agree with instead of God. Lacking Dorothy Sayers when she writes modesty, he seeks his own that Christian art should be the honour instead of God’s glory. expression of a very personal He depicts the negative above experience? “Otherwise it does all. His art is not sufficiently not genuinely convey strength “beautiful”. Individualism and to us, but simply exercises elitism lead to rebellion against power over us.” This warning the authority of the church and directed towards Christian to abandoning fellowship. The artists is of course very spiritual independence of the important, but there are without artist displays heretical doubt magnificent and tendencies. unmanipulative works on Christian themes not created by His professional surliness Christian artists. Building on stands in the way of the Dorothy Sayer’s statement, a creative development of definition of Christian art based members of the congregation. solely on the form or the His demands for financial subject matter would be very reward contradict the principle questionable. Numerous works of voluntary work. in which there is no explicit reference to faith are nevertheless clearly permeated “Christian art” (excursion) by it. Can we perhaps pin These common factors provide “Christian art” down by looking good preconditions for at its effect? Hardly! Otherwise “Christian art” Only: what is any work through which God Christian art? The term is “speaks” to us would have to be 31 fuzzy. Fundamentally, art can termed “Christian”. The use of be looked at and enquired into other definitions such as under three aspects: its origin, “spiritual art” (refering purely to its form and its effect or the subject matter) or “church” purpose. So how do we define or “sacred” art (considering only the “Christian” aspect of a the function) is more practical. work of art? We soon realise A further caveat is that “church” that limiting our definition to art does not necessarily have to these three aspects is hardly have “Christian” subject 32 satisfactory. Can one define matter. “Christian art” on the basis of its origin only? Then we have to ask who defines whether an investigated the phenomenon “inspiration” artist is Christian? Is testimony in a quite immanent sense and concluded of something such as that even unreligious artists can have “inspiration” in creating a work powerful sensations of being inspired. 31 There are many accounts of persons who of art enough to draw have experienced God speaking to them in a conclusions? 30 And to what non-Christian work of art. 32 The term “Christian art” is nevertheless of artists. helpful to a limited extent, and cannot 30 Psychology, for example, has always be avoided. 18 d. Projected solutions

Today we are called on to clear up the conflictual aspect of the relationship between art and the church without one-sided attributions of blame. There are however still too many prejudices and hurt feelings on both sides. How can this clearing-up take place?

PROJECTED SOLUTION 1:

Appreciating the strengths and

weaknesses of the other side c. The artist’s skepsis towards the church A first step would take place

wherever art and the church On the other side, some discover the character of the accusations made by artists other side. To name some against the church have been aspects at least briefly: repeated over the centuries.

The main points are: dictating Appreciation on the artists’s to and controlling the artist, side: the church has supported art limiting his creativity by church for centuries. There is no decree. Lack of appreciation, fundamental skepsis towards art inadequate pay. And the on the part of the church. In opposite pole: the tendency to today’s church, however, there is a a “star cult” in certain lack of understanding of art. It churches: artists are not requires love and patience to treated as normal members of arouse interest in this “forgotten the congregation, but are field” and to develop in the fawned over because they are fellowship of believers a sense of famous. Such “fawned-over” aesthetics. There are many other artists are often over-exposed fields within a congregation which and soon “burned-up” in need Christian circles. Lack of attention. Stamina is therefore all understanding for the artist’s the more necessary – as is perhaps frequent lack of conformity the readiness of artists to take on with middle-class life-style. tasks in one of these other areas. Lack of understanding for art and aesthetics generally. Appreciation on the church Practice of “church art” of side: artists suffer under the low inferior value, and quality of art called for by unwillingness to accept the churches. They are specialists and advice of “specialists”. should be included in consultations

19 on aesthetic questions. missing in the church. Artists Professional artistic work often requires financial sacrifice on the generally have a creative brain: part of the artist; the question of why not invite them to contribute payment is therefore an important ideas about other areas in the matter. At the same time, artistic congregation? work is more than a profession. It is an intensively lived – and PROJECTED SOLUTION 2: sometimes suffered – form of existence. An artist requires free Appreciating the necessity of space for working together It would be a second step if art and church realised that they can enter into an alliance bringing much blessing.

For, on the one side, artists need the accompanying and praying fellowship of Christians – both within the church and in Christian artists’ networks. 34 The challenges of the art market (pressure of competition, financial survival) and various internal, mental potential creativity and, from time to time, sources of stress such as periods of withdrawal, which can perfectionism and sensitivity can be misunderstood as the erecting weigh one down. On top of that, it of individualistic barriers. The can happen that the Christian artist needs the concession of free creative artist sees himself as space for innovation, where the isolated because of his faith, “unorthodox” is also allowed. The because the perspective of faith in portrayal of apparently worldly his work is met with subjects is in no sense a negation incomprehension, or because he of faith. In his battling, the artist refuses to go along with worldly is dependent on understanding tendencies in the artistic and encouragement. The need for community. On the other side, the praise does not mean a retreat church needs the critical and from the “Soli Deo Gloria” creative ferment of artists. attitude. 33 The artist finding his position in relation to the secular 34 These networks and interconfessional art scene does not mean a denial artists’ movements fulfil important tasks in of the fellowship of believers; accompanying the artists spiritually and rather, he finds there his professionally, in spiritual counselling and standards for quality and mission amongst artists, in developing joint understanding that is often art projects with a “proclaiming” character etc. In a number of countries and on an international level there are already many 33 With these words, “to God alone be the interesting initiatives. etworking with these glory”, Johann Sebastian Bach signed is one of the tasks of Arts+ both his spiritual and secular works! (www.artsplus.ch). 20 outside, 36 in ideas for free-time activities. 37 Contact and collaboration with the artists’ networks and initiatives mentioned must not be neglected, because these are the places where there has already been discussion of such questions for a long time and practical models tried out. If art and church In addition, the church knows that find a way to reach each other it is less “attractive” to those again, it will hopefully finally be outside without appreciation and possible to disprove Gottfried support of the arts. It recognises Benn’s claim that “faith is a bad that the works of sacred music, principle to base style on”. literature, painting or architecture are amongst the essential spiritual treasures of our culture and – more than almost any other form of proclamation – still shine out brightly into the world. And, finally, it welcomes the presence of Christian artists in the secular art scene, where they help to build a part of “God’s Kingdom”.

Perhaps special platforms could be arranged – e.g. in combination with theological symposiums – where artists and representatives of the church try to come closer.

PROJECTED SOLUTION 3: Concrete collaboration

The third step would lead to concrete collaboration: to involving artists in the church, 35 in church services, in the preparation of church interiors, in work directed towards those

36 There have been interesting experiences 35 This can probably only happen through with e.g. taking church music into hospitals structural measures, such as setting up a and prisons. working group “art ” in the church, led by 37 The “Stuttgart open evening”, for professional artists or those example, hired an opera house for an knowledgeable in the arts. evening for the whole congregation. 21