Tillich’s Theology of Culture and Art: Forming a Relationship to Healing Grace

GRADUATE THEOLOGICAL UNION Tillich’s Theology of Culture and Art: Forming a Relationship to Healing Grace Submitted By: Michael T Santini (michaelsantini@comcast.net) For: STCE-3041 Suffering and the Human Person Submitted To: Dr. Alejandro Garcia-Rivera Date: December, 17, 2009 Fall Semester Introduction This paper will begin by investigating the theology of Paul Tillich as a theology of culture, wherein he forms an inter-relational bond to religion. Theology of culture is an understanding of human culture that embraces all the creative achievements of people in light of theological convictions. In his book, On the Boundary, Tillich discusses his view of the symbiotic relationship between religion and culture. He explains that, “culture is religious wherever human existence is subjected to ultimate questions and thus transcended; and wherever unconditional meaning becomes visible in works that have only conditional meaning in themselves. . Paul Tillich, On the Boundary: An Autobiographical Sketch (New York: Charles Scribner's Sons, 1966) 68-69. The aspects of this statement are expanded upon in the paper, but it is understood from his assertion that human endeavors in religion and culture have an important reciprocating relationship that can be investigated. In the next section of this paper, Tillich’s theology of art will be reviewed. Tillich discusses the idea that culture becomes religious when “unconditional meaning” becomes visible in artwork. By this, he means that artwork intentionality is normally toward form, which provides conditional meaning, but when directed toward substance imparts unconditional meaning. Within his theology of culture, art occupies an important position. As such, he elaborates on the merits of art by creating a theology of art within his theology of culture. With this concept, artistic painting stands not in the distance in theological thought, but as an important avenue for discovering the deeper meanings of life. Barbara Bennett Baumgarten, "Paul Tillich's Theology of Space Applied to the Visual Arts," ARTS 6, no.1 (Fall 1993): 25. Holiness in art is found in the idea that it is attached to our essential existence and being, while simultaneously being detached from experiential space. Art is fully connected to our existence in the world but can simultaneously be disconnecting to the observer. Attempting to bridge the separation is a struggle that can bring us astonishing apprehensions. Ibid., 26. The notion of attachment and detachment pushes the viewer toward a deeper understanding of life in this world. This paper will then explore the encounter Paul Tillich had with the painting by medieval painter Sandro Botticelli titled Madonna and Child with Eight Angels (also called Madonna and Child with Singing Angels). Botticelli’s many works have been labeled “visual poetry” for their elegant and beautiful style. David Tatum ed., Gardner's Art Through the Ages, 11th edition (New York: Thomson Learning Inc., 2001) 615. At the moment of his face-to-face engagement with the original painting, Tillich was brought from a mental state of suffering and anguish to a point of revelation, which he attributed to the beauty of the work. Raymond Bernard, "Botecelli's Madonna and Picasso's Guernica: Paul Tillich's Contrasting Attitudes Toward Two Major Art Works," ARTS 12, no.2 (2000): 25. In that moment, his entire life was affected as the painting brought him healing and joy in the midst of dark circumstances. His grasp of the power and authority of the divine brought him the reconciliation and peace that he was longing for. Ibid., 26. The final section of the research paper will use Tillich’s theology of culture and art, as well as the account of his encounter with the Madonna and Child with Singing Angels, to assert the idea healing grace is so fundamentally accessible that one can even receive it through encounters with cultural objects, such as beautiful works of art. This special encounter with Gods’ grace is available to everyone. Regarding art and architecture, it was Tillich who made the sweeping statement that, “I always learned more from pictures than from theological books.” H. Armin Moellering, "Up From Philistinism: Paul Tillich on Art and Architecture," Concordia Journal 15, no.1 (Jan. 1989): 57. Every person being challenged with the difficulties of life can seek and discover the fingerprint of God in the world around them, even in creative works of culture. The human condition is not only one of grappling with difficulty, but of hope in a future lessening of pain and the ultimate deliverance from suffering. The language of cultural expressions, such as music, art and poetry can be effective illustrations of religion available for spiritual assimilation, which can help a seeking individual form an association with God’s healing grace. Theology of Culture In his first volume of Systematic Theology, Tillich introduces religion as the “ultimate concern” and almighty God as the ultimate power of being. Paul Tillich, Systematic Theology Vol. I (Chicago: The University of Chicago Press, 1951) 173. The “ultimate concern” is found in realizing “The Lord, our God, the Lord is one” (Dt. 6:4), and that loving him with all our heart, soul, mind and strength is our greatest imperative. Recognition of the “ultimate concern” should be unconditional and independent of one’s character or circumstances. Ibid., 12. Religion as the “ultimate concern” should be a total and complete commitment on the part of the individual. If the Christian claim that Jesus Christ is the manifestation of God is true, then He must be the subject of absolute interest. To Tillich, it was the biblical message and not the biblical view that was the pivotal point for interpreting knowledge for the human race. John Dillenberger, "Theology and Abstract Expressionism: Historical Notes and Test Cases," Religion and Intellectual Life 1, no.1 (Fall 1983): 58. Understanding the biblical message means searching for the true meaning of theological expression in cultural forms in order to discover viability and truthfulness. Based on this supposition, artistic awareness and appreciation moved to the center of Tillich’s theological work. As such, cultural expression is the avenue through which theological articulation is undertaken in the world. If religion is seen as the “ultimate concern,” then this concern cannot be understood as being restricted to one realm or sphere of our existence. If “ultimate concern” is unconditional, it must be applicable to every moment of time and space. Paul Tillich, Theology of Culture (New York: Oxford University Press, 1959) 41. Since God is creator and occupies our world and the cosmos, “ultimate concern” is constantly present. As such, time and space become the dimensions by which the boundary between the secular and the religious are crossed. Religion and culture are therefore not understood dualistically but rather as being interrelated. The “ultimate concern” of religion gives life-breath to the substance of culture in the totality of the forms that it expresses and represents. Ibid., 42. The outline of Tillich’s theology of culture is brought to systematic expression in three identifiable tasks of the theologian. Russell Manning, "Towards a Critical Reconstruction and Defense of Paul Tillich's Theology of Art," ARTS 16, no.2 (2004): 32. The first is to explore all cultural creations as a whole, drawing out any religious content. Religious “content” has a specific meaning for Tillich. For instance, in the visual arts, the subject matter of the work itself may or may not be religious, but the “style” may be deeply religious and reveal the true content and “ultimate concern.” Geraldine Wheeler, "Three Theologians," ARTS 18, no.2 (2006): 10. A discussion of Tillich’s understanding of religious “style” is addressed in the next section. The second task is to review the cultural creation for typological classification and offer a historical or philosophical view of its formation. The third task is to attempt to outline the religious-cultural system from which the handiwork originated, in order to fully appreciate its creative genius. For Tillich, the visual arts offer a window to the past, and like literature or poetry, can be interpreted theologically. John Dillenberger, "Contemporary Theologians and the Visual Arts," Journal of the American Academy of Religion 53, no.4 (Dec. 1985): 604. Tillich’s grasp of the religious dimensions in culture and his concept of a theology of culture is one of the most prominent aspects of his theological thought. Robert P. Scharlemann, Religion and Reflection: Essays on Paul Tillich's Theology (New Brunswick, NJ: Transaction Publishers, 2004) 69. An essential ingredient to the development of culture is his comprehension of the reality of God, which views God not as a separate and distinct being, but as being itself. In his systematic analysis he states that, “As the power of being, God transcends every being and also the totality of being – the world.” Paul Tillich, Systematic Theology Vol. I (Chicago: The University of Chicago Press, 1951) 237. This statement leads some scholars to assert that Tillich’s beliefs constitute panentheism, a term that literally means “all in God.” In panentheism, God maintains a transcendent character and is viewed as Creator and the source of morality. Panentheism views God in all things and distinguishes itself from pantheism, which maintains that all in the universe is God. David H. Nikkel, Panentheism in Hartshorne and Tillich: A Creative Synthesis (New York: Peter Lang Publishing Inc., 1995) 29. This term does not mean that God is reducible to non-divine persons, but rather that God is transcendentally present in the world and in the experiences and actions of individuals. Tillich’s belief in the active presence of God in culture as the power of being helped to facilitate his perspective of finding the divine in art. Theology of Art Paul Tillich did not produce a separate or systematic theology of art, but rather incorporated an examination of the arts within the broader context of his theology of culture. Russell Manning. Theology at the End of Culture: Paul Tillich's Theology of Culture and Art (Dudley, MA: Peeters, Bondgenotenlaan, 2005) 130-131. His general religious analysis of art became the foundation of his lifelong philosophical and theological discourse on the subject. It is possible using this analysis to synthesize and reconstruct two important principles concerning his theology of art. Each concept lends credence to the idea that Tillich was the vanguard theologian concerning artistic visual representation, in that he was able to rationalize artistic analysis as a viable and realistic mode of theological contemplation. John Dillenberger, "Theology and Abstract Expressionism: Historical Notes and Test Cases," Religion and Intellectual Life 1, no.1 (Fall 1983): 58. Tillich created a new worldview out of his cultural surroundings, and integrated artistic analysis into the center of existential thought and understanding of the divine nature. The first principle is that for any given historical period, the aesthetic creations are the exemplary expressions of the culture. Tillich believed that the artist is able to communicate the cultural and religious concerns of his day in and through the work of his hands. Ibid., 58. As representations of a given culture, they manifest “ultimate concern” and can therefore be religiously interpreted. Since cultural creations are most revealing for the era to which it belongs, artistic work can, through study and investigation, provide insight into the religion of the time period. As a consequence, artwork is significant to the study of theology, which is essentially a methodological attempt to understand God’s divine revelation. Exploring historical cultural-religious aspects of past generations is not extraneous to the current religious condition. As Tillich states, “Without a theology of culture there is no depth to the history of culture and without a theology of art there is no understanding of the ultimate meaning of artworks!” Russell Manning, "Towards a Critical Reconstruction and Defense of Paul Tillich's Theology of Art," ARTS 16, no.2 (2004): 33. The second principle for Tillich is the belief that artistic expression can be recognized, appropriated and contrasted with other works. The interpretive means or standard by which the religious meaning and “ultimate concern” is extracted is through the concept of “style.” Tillich divided the analysis of a painting into the two categories of Inhalt and Gehalt. Inhalt is the form or subject matter of the work. Gehalt is the spiritual content that is brought to expression from the depth of the painting. Style, according to Tillich, is the revelatory process by which Gehalt can to be discerned. Russell Manning. Theology at the End of Culture: Paul Tillich's Theology of Culture and Art (Dudley, MA: Peeters, Bondgenotenlaan, 2005) 139. Style includes visible features such as richness, contrast and paint variety or mixture. According to Tillich, making sense of style is an art in itself, and is a challenging matter involving daring and risk. Paul Tillich, Theology of Culture (New York: Oxford University Press, 1959) 70. Style is understood in juxtaposition of the form or subject matter of the work, but it is a separate and distinct feature requiring a unique evaluative perspective. Beyond the two basic principles developed in his theology of art, Tillich distinguishes two spheres of value assigned to artwork: the aesthetic and the religious. Aesthetic value is the natural beauty seen in the artistic creation. Religious value can be seen in any form of artwork, whether the subject matter is spiritual or secular. According to H. Richard Niebuhr, Tillich found greater religious value in a tree by van Gogh than in a picture of Jesus by Uhde. H. Richard Niebuhr, "Introduction," In Paul Tillich The Religious Situation. (New York: Meridian Books, Inc., 1960) 16-17. Tillich believed that spiritual mysticism of a cultural creation stands outside the religious tradition. In his view, when an artist turns to religious subject matter for expressionism, the inventiveness of the work is restricted. Tillich did not unequivocally dismiss the value of art with religious subject matter. He was simply speaking out against the religious art produced for the masses by a capitalistic society. Paul Tillich, The Religious Situation, (New York: Meridian Books, Inc., 1960) 89. Attempting to find inspiration from long-lasting religious symbols is difficult because new meaning is unavailable. Religious symbols in fact are a faint echo of the past, which attempt to elicit human emotion from the divine effect. Ibid., 89. Finally, it should be noted that Tillich never took a serious interest in the radical development of abstract expressionism. Abstract expressionism is an artistic movement that began in the mid-twentieth century. It comprises diverse styles and techniques, with special emphasis on the artist's liberty to convey attitudes and emotions through nontraditional and nonrepresentational means. His interest and analysis of artwork is based on a more traditional style of invention. Tillich’s exposure was mainly to medieval work, as well as the artistry of Munch, Van Gogh and the German Expressionists. Encounter with Botticelli’s Madonna and Child with Singing Angels: From Suffering to Revelation In his late twenties, Paul Tillich was exposed to the battlefield tragedies of World War I and the demoralizing effects associated with such a horrendous encounter. The intense suffering in the face of death became a significant contributor to his memories of the war, and it left an indelible mark on his life. Wilhelm & Marion Pauck, Paul Tillich: His Life & Thought Vol. I: Life, (New York: Harper & Row Publishers, 1976) 51. He was assigned as a chaplain on the German front lines, facing French and British forces in a dragged-out attempt to converge on Paris. As part of his duty, he ministered and conducted services regularly, forming numerous friends and acquaintances. Optimism for a quick and decisive victory had abounded initially because nationalistic fervor had swept the country. However, the confidence soon evaporated with the ugliness and drudgery of trench warfare. In the midst of unimaginable destruction and innumerable deaths, Tillich became a gravedigger in addition to being a pastor. He suffered what was described as a nervous breakdown during those years. At one point following the death of a close friend, he was unable to speak and could only recite the liturgy. Tillich’s war experiences are documented in the Pauck biography. Ibid., 45. In order to escape the horrors of war, Tillich began reading about and studying art. He found himself drawn back into the passion and liberty of life in the reading of Nietzsche, who ultimately invalidated his traditional concept of theology. The bringing to light of the exploitation of the working class by Nietzsche and his idea of the pretense of the bourgeois was particularly appealing to Tillich. Ibid., 52. In the midst of his hurt and pain, Tillich had reevaluated his understanding of the reality of God. As a result, he began searching for every sweetness life had to offer. As peace between the nations drew near, he began to wonder about his role in a reorganized Germany. At the end of the war, he realized that he had never seen any of the original paintings of which he had grown fond. In his own words, Tillich describes his initial post-war encounter with fine art from the medieval era: Going to Berlin, I hurried to the Kaiser Friederich Museum. There on the wall was a picture that had comforted me in battle: Madonna and Child with Singing Angels, painted by Sandro Botticelli in the fifteenth century. Gazing up at it, I felt a state approaching ecstasy. In the beauty of the painting there was Beauty itself. It shone through the colors of the paint as the light of day shines through the stained-glass windows of a medieval church. As I stood there, bathed in the beauty its painter had envisioned so long ago, something of the divine source of all things came through to me. I turned away shaken. Paul Tillich, On Art and Architecture, (New York: The Crossroad Publishing Company, 1987) 235. Tillich describes the beauty of the painting in an unbridled and unrestricted manner, but it was not in direct reference to the subject matter of Madonna, child and angels. Rather, his response was to the revealed style of the artwork. The style of Boticelli paintings has undergone a significant amount of methodical evaluation, especially in terms of his technique and material usage. He was a skilled painter, who used the finest pigments available. His paint binder was an innovative combination of egg yolk and oil, which made the color more transparent, so it could be applied in thin opaque layers. Jane Turner ed., The Dictionary of Art Vol. IV, (New York: Grove Dictionaries Inc., 1996) 501-502. For gilding, Botticelli would use finely powdered gold mixed with a light adhesive for brushing on to the surface. Through Botticelli’s implementation of color variety, enameled texture, balance, contrast and expression, the Madonna and Child with Singing Angels communicated the absolute beauty of the divine to Paul Tillich. It is understandable that such a painting would be beautiful to him in the midst of the ugliness, horror and filth of war. His encounter with the Madonna and Child with Singing Angels was deeply moving for Tillich and served to alleviate the pain experienced in the battlefield. Tillich uses the Greek word kairos to refer to this moment of grace, which he regards as the breakthrough to vital joy and spiritual truth experienced in the discovery of the “ultimate concern.” The Greek word kairos literally means “timeliness or appropriate timing.” The word is a connotation of the marvelous or the unheard of suddenly coming to light. Raymond Bernanrd, "Botecelli's Madonna and Picasso's Guernica: Paul Tillich's Contrasting Attitudes Toward Two Major Art Works," ARTS 12, no.2 (2000): 26. His experience with the image can be likened to a breakthrough of healing divine grace in the midst of desperate human circumstances. In Tillich’s theological vocabulary, sin and grace have special meaning. Sin is a universal state of separation of humanity from God and one another, not a single act of individual wrongdoing. Wilhelm & Marion Pauck, Paul Tillich: His Life & Thought Vol. I: Life, (New York: Harper & Row Publishers, 1976) 229. Grace is not unmerited favor extended from God to humanity, but a reuniting to God and one another from which a person had been alienated. Ibid., 229. In the union experienced by grace, healing and peace is found. According to Tillich, the classical definition of revelation is the understanding of divine information about divine matters The traditional interpretation or understanding of revelation is established in the Old and New Testament. Tillich believed prophets and apostles received revelation as revealed by the Spirit. Acceptance of these divine disclosures was based on the faith of the individual. Paul Tillich, Dynamics of Faith, (New York: Harper & Brothers Publishers, 1957) 78.. His idea of revelation was innovative and distinctive. Tillich saw revelation as the avenue by which the grace experience is gathered into one’s conscience. The manifestation of religion as “ultimate concern” is a revelatory encounter with the symbols of culture that people entertain with their imagination and thoughts. With revelation as the pathway for God’s grace to manifest itself, the opportunity to usher in healing and restoration from suffering and difficulty can be achieved. Healing Grace for All Three important themes concerning the theology of grace are highlighted in Roger Haight’s review of William James classic in religious literature, The Varieties of Religious Experience. Roger Haight, The Experience and Language of Grace, (New York: Paulist Press, 1979) 16-17. The first is the traditional view of grace as God’s favor extended in a loving and unmerited way to humanity. The theme of gratuitous divine goodwill is a prevalent way in which James sees individuals experiencing faith and comfort in God. A second tenet is the grace of elevation to a new life, where humanity takes off the old and becomes a new creation. According to James, this is a common New Testament theme. The third principle by which persons encounter grace is in healing and restoration. This powerful renewal can extend beyond an individual’s cognitive understanding, but is at the same time a genuine religious experience. Ibid., 17. It is this type of grace that can blossom forth in an encounter with art. In discovering the human impact of art, one should first distinguish between the three dimensions of art: the religious, the spiritual, and the theological. Alejandro R. Garcia-Rivera, A Wounded Innocence: Sketches for a Theology of Art. (Collegeville, MN: The Liturgical Press, 2003) 30-31. Religious art is centered on the subject matter, whether it is a statue of Diana, Goddess of the Hunt, in ancient Roman religion, or a picture of Jesus of Nazareth. In religious art, the image is specific to the faith conviction, with the caliber of the work having less significance toward the overall affect than the image itself. The image simply generates thought toward one’s religious beliefs. The second dimension, spiritual art, forms the idea of an unidentifiable certainty in one’s mind. The works of art may or may not contain religious subject matter. An example is Caravaggio’s The Incredulity of St. Thomas, which is considered both spiritual and religious. The spiritual and religious impact of Caravaggio’s painting is cited in Alejandro R. Garcia-Rivera’s book. The painting is seen on the paperback cover. A Wounded Innocence: Sketches for a Theology of Art. Ibid., 31. The painting shows St. Thomas deeply probing the side wound of the risen Christ with his finger. The third aspect, the theological impact of art, is the dimension unfolded by Tillich in his impression of the Madonna and Child with Singing Angels. Perceptiveness of the art brings enlightenment to one’s thinking and devotion to humanity and to the divine. Ibid., 31. All three dimensions of art can communicate the intent of the artist to the spectator, and in this interaction bring blessing and convey beauty. The artist to express an intention or transfer an experience often creates art. In its truest and highest forms, art is the articulation of spiritual values in terms of beauty. Percy Dearmer, Art and Religion, (London: Student Christian Movement Press, 1936) 12. Beauty is more than a quality of giving pleasure to the senses or exciting intellectual or emotional admiration. Beyond being aesthetically pleasing, great or higher forms of art are beautiful when they allow the observer to comprehend the divine nature. The beauty found by the receptive individual is an eternal or heavenly quality transmitted by God. Ibid., 15. Caught up in the beauty of art, human beings who are hurting or wounded can find a glimpse of the everlasting and the immortal. In this encounter, cultural objects become an available source of grace and healing. One of the most important aspects of grace is its relational characteristics, which connects God to created forms, God to human beings, and human beings to one other. Dreyer notes that these relationships cannot be separated from one another because God is involved in all relationships. God is involved when humanity relates directly to Him. When we are in relationship to one another, or in relationship to something in the world, God is also understood as playing a part. Elizabeth Dreyer, Manifestations of Grace (Collegeville, MN: The Liturgical Press, 1990) 21. Every person has the capacity to be moved by grace and to provide grace to someone else. Sin is the separating force, but grace has the ability to end the estrangement of transgression and reconnect us to what is essential for our being. As Elizabeth Dreyer states in her book Manifestations of Grace: One of the hallmarks of great art is its ability to portray the unifying sense of human destiny, a joy too deep for tears. Grace is re-discovery of the comprehensive unity of the initiative of God’s love, a unity to which we can only penetrate stepwise, by a continual conversation, a dying and rising again with Jesus. Ibid., 232. The hope for redemption and the longing for eternity provide the opportunity for the human soul to escape from the randomness and chaos of the world. When love is lacking in individuals because of sin and selfishness of the world, healing grace can be found in the depth and serenity of creative artwork. The cultural language of the arts can be effective expressions enabling reconciliation and healing grace between God, humanity and one another. Conclusion This paper has examined the unique and vibrant theology of culture engendered in the theological writings of Paul Tillich. Tillich has a unique conception of the theological task, wherein the theologian reflects on God’s presence in human cultural activities. Tillich’s understanding of God is not as a separate being, but as being itself, which allows manifestation of the divine in the world of art. Traditional theological form reflects on the God of the Bible to understand divine revelation. Tillich’s approach is a theological reflection of culture in order to unveil religious significance. The attempt to find religion in the “ultimate concern” is accomplished with regard to an analysis of actual cultural forms. A revelation of God can be uncovered in these forms, bringing culture and religion together in a theologically meaningful way. Tillich built a new and important interrelationship between religion and culture in his theology of art by discovering that the style of painting has important religious implications. He expounded on the elements of style to reveal the mystery of art, which brought to expression the spiritual substantiality. He called this the Gehalt, identifying it as the spiritual content or substance of the work. He differentiated this from Inhalt, which is the subject matter of the created form. He understood art from any given period to be representative of the cultural era, and to have the ability to communicate the religious view of the divine from that era, as expressed in and through the artist. His ability to discern and articulate the theological dimension of art, found in the perpetual and universally present “ultimate concern,” brought deeper meaning to human life and to the arts. Realization that everyone has the ability of special encounter with Gods healing grace through exposure to cultural creations is a manifold breakthrough to humanity. The encounter with Madonna and Child with Singing Angels provided Tillich the impulse to recognize art for its theological significance. For Tillich, art became the clearest indicator of the totality of human creativity. In the understanding of his being, the painting became a response to the existential problem of human limitedness. The transcendent God had made Himself clearly visible in the cultural creation of human hands of an artist. Tillich could spiritually bond with God and others because the revelation of the divine was disclosed in the “ultimate concern,” found in the stylistic features of the painting. The theological dimensions of the impact would release a restorative form of requisite divine grace into his life at a critical juncture. The calming beauty of Madonna and Child with Singing Angels brought Paul Tillich healing grace because the beauty was of an eternal quality. In encountering various creative art forms of culture, all peoples can experience the same transforming splendor. The impact of the art form to the individual can be in the religious, spiritual or theological dimension, and provide Gods’ healing grace in an uncomplicated and tranquil manner. A person in distress can be moved to prayer after absorbing the painted scene of the resurrection of Jesus, and be touched by God’s healing grace. The key is in acknowledging the fundamental ability of the arts to become a source of grace through encounter. In doing so, cultural creations can provide healing, health and restoration to all who are in need. Bibliography Baumgarten, Barbara Bennett. "Paul Tillich's Theology of Space Applied to the Visual Arts." ARTS, 6 no.1 (Fall 1993): 24-26. Bernard, Raymond. "Botecelli's Madonna and Picasso's Guernica: Paul Tillich's Contrasting Attitudes Toward Two Major Art Works." ARTS, 12, no.2 (2000): 24-26. Dearmer, Percy. Art and Religion. London: Student Christian Movement Press, 1936. Dillenberger, John. "Theology and Abstract Expressionism: Historical Notes and Test Cases." Religion and Intellectual Life, 1 no.1 (Fall 1983): 54-67. ———. "Contemporary Theologians and the Visual Arts." 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