Tag Archives: art

Truth In Christian Mythology

One of the challenges in clarifying a post-theistic spirituality has to do with the fact that its principal concern – what I name the present mystery of reality – is impossible to define. While it is always and only right here, right now, any attempt to put a name and definition around it only manages to conceal the mystery under a veil of meaning.

Our need for certainty might be temporarily satisfied, but in the meantime the curtain of mental tapestry has separated us from what’s really real.

If we could acknowledge that this is what we’re doing, these veils would stand a better chance of parting before the mystery and facilitating a fresh encounter of our mind with reality. But while constructivism makes such an acknowledgment central to its method, orthodoxy, in every cultural domain and not only religion, cannot admit this either to its constituencies of believers or even to itself.

Our mind has a tendency to fall in love with its constructions, to get lost in its own designs. Meaning is something we can control, since it is, after all, our peculiar invention. Mystery – not even “on the other hand” since this puts it on the same axis as meaning – requires an open mind, not one boxed inside its own conclusions.

Our best constructs don’t amount to final answers but better – deeper, larger, and farther reaching – questions.

With the rise of science, the truth of our constructions of meaning (called theories) has become more strongly associated with how accurate they are as descriptions, explanations, and predictions of what’s going on around us – that is, in the factual realm external to our mind. (Even the scientific understanding of our body posits it as something physical, objective, and separate from the observing, analytical mind.)

In the meantime and as a consequence of this growing fascination with objectification, measurement, and control, we have gradually lost our taste and talent for a very different kind of narrative construction. One that doesn’t look out on a supposedly objective reality but rather contemplates the grounding mystery of existence itself.

Myths have been around far longer than theories, and one of the early mistakes of science was to assume that these ancient stories were just ignorant efforts at explaining a reality outside the mind.

Deities and demons, fantastical realms, heroic quests, and miraculous events – the familiar stuff of myths: such were not validated under scientific scrutiny and had to be rejected on our advance to enlightenment. Religion itself fell into amnesia, relinquishing its role as storyteller and settling into the defense of a supernatural realm above the natural realm, or (trying to seem more scientific) a metaphysical realm behind the physics of science.

Otherwise, religion agreed to keep its focus on morality and the life to come.

The theism-atheism debate is relevant here and only here, where the factual (i.e., supernatural, metaphysical) existence of god makes any sense. Theists insist that their stories are literally true and the mythological god is real, while atheists claim they are not, for obvious reasons. Theists profess the necessity of believing in god’s existence as a matter of faith, whereas atheists rightly point out that believing anything without the evidence or logic to support it is intellectually irresponsible.

They are both at a stalemate. We need to move on …

Post-theism provides a way out of this predicament by challenging us to put aside both metaphysics and physics as we reconsider these timeless myths. Their truth is not a matter of factual explanation but mystical revelation – or if you prefer, artistic revelation, precisely in the way a true work of art presents us with an artifact to contemplate and then draws back this veil on a present mystery. This mystery is the here-and-now experience that inspired the artist to begin with.

As revelation, however, it is not a look at someone else’s past experience of the here-and-now but offers a spontaneous insight for the beholder into the deep mystery of This Moment.

To show what I mean, let’s take the central myth of Christianity which has been summarized by orthodoxy in the doctrines of the incarnation, crucifixion, and resurrection of Jesus Christ. But whereas Christian orthodoxy has attached these exclusively to the historical figure of Jesus, that is to say, to a person in the past, we will regard him instead as an archetypal figure, as an instance of what Joseph Campbell named The Hero.As Campbell demonstrated, this Hero has ‘a thousand faces’ reflecting the divers cultures and epochs where his (and her) stories are told – stories that can be interpreted and understood archetypally as about ourselves.

The Hero, then, is our ego, or the self-conscious center of personal identity that each of us is compelled to become. My diagram illustrates this journey of identity with an arching arrow representing the linear path of our individual lifespan. Personal identity is not something we’re born with, and its character cannot simply be reduced to our genes and animal temperament.

Quite otherwise, identity must be constructed, and its construction is a profoundly social project involving our parents and other taller powers, along with siblings and peers who make up our cohort through time.

Just as the Hero’s destiny is to serve as an agent of cultural aspirations (a struggle against fate), progress (a counter to the stabilizing force of tradition), and creativity (as an instigator of new possibilities), so does his or her path chart the trend-line and opportunities associated with our higher evolution as a species.

Briefly in what follows I will translate the incarnation, crucifixion, and resurrection of Jesus Christ as representing three primary stages in the Hero’s Journey each of us is on.

What I call the grounding mystery of reality is all that has transpired to bring forth our existence as human beings. This refers not only to the causal sequence of events leading up to us, but each distinct manifestation of the universe making up our present nature as physical, organic, sentient, and self-conscious individuals.

From our position of ego consciousness we look ‘down’ into the ground of what we essentially are.

As mentioned earlier, it is our socially constructed center of separate identity (ego) that arcs in its journey out, away, and eventually back to the grounding mystery. Because personal identity is socially constructed and independent of genetic inheritance, the start of its journey is represented in the myths as something of a vertical drop from another realm. The Hero may simply show up, but frequently in myths its advent comes about by way of a virgin birth.

Staying with this natal imagery, our best description would be to say that ego is spontaneously conceived (or ‘wakes up’) in the womb of the body.

The longer process of ego formation involves the attachments, agreements, and assignments that conspire to identify us as somebody special and separate from the rest. Our tribe provides us (or so we can hope) with models of maturity, responsibility, and virtue, in the taller powers of adults who watch over us; but also in the construct of a personal deity who exemplifies the perfection of virtue.

In my diagram I have colored the construct of god with a gradient ranging from purple (representing the grounding mystery) to orange (representing ego consciousness), in order to make the point that god is not merely another being, but the personified ground of being as well as the exalted ideal of our own waking nature.

But at the very apex of ego’s formation, just as we come to ourselves as special and separate from the rest, another realization dawns: that we are separate and alone. In the heroic achievement of our unique individuality we also must somehow accept (or otherwise resign to) the full burden of our existence as solitary and mortal beings.

In the Christian myth this is represented by Jesus on the cross when he cries out, “My god, my god, why have you forsaken me?!” (Mark 15:34)

As a narrative mechanism, the cross thrusts our Hero away from the earth but not quite into heaven either, where he hangs in a grey void of isolation, exposure, and abandonment. This is the crucial (‘cross-shaped’ or ‘cross-over’) point that can lead either to utter despair, a desperate craving for security and assurance, or to the breakthrough of genuine awakening.

Which way it goes will depend on our ability to sustain this shock of loneliness and look not away but through it to a transpersonal view of life.

It’s not a coincidence that Jesus’ followers recognized his cross as central to his vision of the liberated life. It was a visual depiction of his core message (gospel) concerning the necessity of dying to one’s separate and special self, whether that specialness is based in a felt sense of pride and superiority, or in shame and inferiority. Both, in fact, can equally fixate ego on itself and keep us from authentic life.

Only by getting over ourselves can we enter into conscious communion with others and with the greater reality beyond us.

Entering into the authentic life of a transpersonal existence brings us to the third stage of our Hero’s journey: resurrection. This isn’t a recovery of our former life but an elevation of consciousness to the liberated life, to what I also call our creative authority as individuals in community. In the Christian myth this higher state of the liberated life is represented in the symbol of an empty tomb, which plays opposite to the virgin womb as the locus of our Hero’s ‘second birth’, set free from the constraints of insecurity, ambition … and belief.

From a post-theistic perspective, one gift of the liberated life is a grace to live in full acceptance of our own mortality, of the passing nature of things, and of the deep abyss in the face of which our most cherished veils of meaning dissolve away.


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Looking At and Looking Through

When you stand before a Monet painting of water lilies, you might choose to analyze it according to its physical dimensions, the composition and pigment of the paint, the particular arrangement of highlight and shadow, and how close Monet came to a realistic depiction of actual water lilies.

At the conclusion of your analysis you would have a catalog of observable facts, to which you could also add more factual details such as the time period, historical circumstances, events from Monet’s personal life and his development as a painter. This mode of analysis employs the power of observation in order to explain what you are looking at.

But you might choose to contemplate the painting instead of analyzing it. In that case you wouldn’t be observing from an objective distance and reducing it to a catalog of facts, but rather encountering it as an artistic creation. His rendering of water lilies is not asking to be explained or compared with actual water lilies.

The intention of art is not to explain (literally to spread out on a flat surface for examination) but to reveal (to pull back a veil and allow something to be seen). Your contemplation of Monet’s painting represents a very different mode of perception from that of analysis, inviting a kind of dialogue between you and the artist.

A painting, like everything else made by the creative skill of human beings and not found in nature, is what we call an artifact. In evolutionary history, the threshold between animal nature and human culture is defined by the artifacts that our species created, as together they constructed a peculiarly human world – the network of tools, utilities, technologies, symbols, values, agreements, and beliefs that carry the meaning of life for us.

As one kind of artifact, a machine is the product of an engineering and technical intelligence. Monet’s painting of water lilies, on the other hand, is an expression of an intuitive and aesthetic intelligence. Such distinct types of intelligence co-evolving in human beings are what make us a wonderfully visionary, prolific, and complicated species.

The question of whether a given artifact is more art or fact is an interesting one, with far-reaching implications. When you analyze Monet’s water lilies into a catalog of physical and historical details, you are treating it as a fact – something to look at, to observe, and ultimately to explain. Once explained, the object is said to be ‘known’. Each color pigment has a chromatic number value. Each shape has proximal value with respect to real objects. The painting traces along a line of causality back to Monet himself, as the man who made it at a specific time in history.

Your thorough explanation effectively reduces the painting to an object before you.

In the second mode, of contemplation, you instead encounter the artifact as more art than fact. As art, Monet’s painting cannot be decomposed into its basic and essentially separate elements. Indeed, its artistic virtue as a medium of revelation (as a veil parting) requires that you behold the painting as a whole. Only then is it possible – and we can only hope for the possibility since it is nothing you can control or make happen – for the work of art to show you what cannot be observed.

To behold is an exquisitely receptive (as distinct from merely passive) act of contemplation. With patient and mindful attention, you may eventually come to see not what Monet saw but as he saw, ushered into his experience of water lilies.

We can easily summarize these two modes of perception as the difference between looking at (observation, analysis, explanation) and looking through (encounter, contemplation, revelation). It is the difference between treating an artifact as an opaque fact or as translucent art. In the first case, Monet’s painting is a rather inaccurate and unrealistic depiction of water lilies. In the second, it represents (i.e., makes present again) something that is not a thing: Monet’s experience of the present mystery of reality manifested in water lilies.

Now, you may lack even an inkling of art appreciation. To you it’s just a picture, and not a very impressive attempt by someone who fashioned himself a painter. He could better have painted houses or fences, for at least that would have contributed something useful to society. With today’s advances in photography, we shouldn’t have to settle for illustrations that are barely recognizable and basically worthless as depictions of actual facts.

There is a similar widespread inability, especially among those living in the light (or under the shadow) of modern science, for appreciating story as art – particularly the sacred stories of culture and religion known as myths. Stories, too, are artifacts, which means that we can choose how we engage them, as art or as fact.

Despite the difference in their media, a story is very similar to a painting in that both depict images for us to hold in mind. Originally and for many millenniums, human cultures composed myths that were intended for the modes of encounter, contemplation, and revelation. It would have made no sense whatsoever for a creation myth, for example, to be analyzed into its narrative elements or taken as an explanation of observable facts.

As art, the myth was not regarded as an eye-witness report of long-ago events in the history of the cosmos. Rather it was recited in sacred settings of ritual performance (not locked inside printed books) and the storyteller would usher his or her community into an experience of an awesome yet provident universe, the cradle and household of all living things.

With the rise of science, artistic insight into the present mystery of reality was gradually eclipsed by factual observations, empirical analysis, and rational explanations. This new mode of engaging with reality certainly marked a great advance in the human journey, but our fascination with knowledge and control came at a cost.

In his landmark meditation I and Thou, the Jewish philosopher Martin Buber distinguished between two modes of consciousness, one ancient and the other more modern. He named these I-Thou and I-It, where the second term in each pair identifies the nature of what the I (ego) perceives and relates to. I-Thou lines up with the artifact as art, even regarding the whole of reality as opening in dialogue with our contemplative mind.

Buber wasn’t suggesting that a personal god is on the other end of the line, but rather that the human being stands in a reciprocal relationship with reality. Our own personalities are not an alien feature of the universe but expressions of it. As we gaze upon the stars, we are contemplating our own nature.

I-It is where reality outside the ego is not only depersonalized and pushed into the distance, but personality itself is reduced – to social conditioning, biological temperament, genes and chromosomes. This is the artifact as fact, and all of reality as nothing more than a great constellation of observable and theoretical facts. It is Monet’s painting of water lilies as so much paint and poor realism, the myths of religion as either supernatural journalism (e.g., the literal Bible) or primitive superstition.

Unfortunately the I-It mentality has affected both science and religion today. Wholeness, dialogue, contemplation, insight, mystery, and revelation are dropping away or getting disqualified as legitimate interests. For many, science studies this world as religion prepares us for the next. For a growing number of others, science has the answers we seek for the progress we need, while religion peddles deception, sanctifies ignorance, and ordains terrorism.

And in the meantime both enterprises are in danger of losing their souls.


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The Creative Life

In our exploration of creative change, it is tempting to romanticize creativity into a free-ranging, spontaneous, and artistic-expressive activity that defies limitations. There is something to this, of course. The “creative life” does seem to stand at the far end of a continuum from the “secure life” where everything is safe and comfortably tucked in.

But that’s the thing about continuums: like the Yin and Yang of the Chinese Taoist symbol, a little of each extreme is inherent in its distant opposite.

Creativity and security might be thought of as the twin-yet-opposite forces in human experience that play against, around and into each other in our evolutionary quest for fulfillment. One can’t be defined without some reference to the other, but each represents a “pressing concern” that powerfully affects our quality of life. And because they are at opposite ends of a continuum, it can be enlightening to investigate their interplay in our daily experience.

Security has a lot of emotional weight, especially these days when terrorism and international politics keep reminding us how fragile the status quo really is. As one of those pressing concerns shaping our sanity and happiness, security is deeply entwined with our development, going way back into that first holding environment of our mother’s womb.

A small yet influential structure in our brains called the amygdala, which specializes in initializing internal states and reactions in situations of perceived danger, is in full operation already by the eighth month of gestation.


Most organisms – and even many plant species – curl inward or retract when the “vibe of danger” is in the air. They will unfold and relax only when the coast is clear and things return to normal. Security, then, appears to be a key indicator that life takes into account on a moment-to-moment basis. Danger and risk could result in extinction, so natural wisdom (also known as instinct) will be quick to move (or “freeze”) the organism in a manner that is appropriate to the perceived threat so that security can be recovered.

Interestingly, this factor of security seems strongly associated with the notion of “ground” that I have explored in other blog posts. The descending path of meditation leads the focal center of conscious awareness deep into that “place that is no place,” beneath identity and below the reach of language. This might be the same “place” that organisms naturally “go” when they pull into themselves for security.

A human being will also contract and withdraw under hostile or inhospitable conditions. The mystic, however, is one who develops the path of inward descent in order to surrender ego, relax the body, and release fully to the present mystery of reality. This can appear as nothing but an escape from reality to those observing the meditator – in tranquil repose or undisturbed contemplation, not nervously buzzing about like the rest of us.

The ground of being is not an abstract philosophical concept, but a metaphor for that deeply inward station where who you are (ego) is relinquished and the whatness (the be-ing) that you are is manifested to awareness. Going there is how you can catch your balance, find your center, recover your focus and be fully present to what’s going on right now.

It is out of this grounded, centered, balanced and focused place that your creativity proceeds – up and out into the extended context of your life. The creative spirit ascends and flows along a “stairway” of progression thresholds – from cells to tissues to glands to organs to organ systems, and out through the body into the particular opportunity, challenge, or predicament of the situation at hand.

At each point of transmission, a mechanism or method of control supports the freedom of a higher purpose. Each cell, for instance, operates according to a mechanism of control whereby its energy needs and functional integrity are maintained. But in addition to its own energy needs, the cell “opens up” to be incorporated in a lattice of many cells functioning together as tissue.

This self-transcending intention – opening up and contributing to the higher-order purpose of a larger, more complex system – is a perfect picture of what I mean by creativity.

The point here is that this higher freedom (from the cell’s perspective) is made possible by a deeper control. This principle is demonstrated in countless ways, as in the example of a musician who is not “free” to create inspiring music until she has achieved sufficient control of her instrument. Such control at this level is conscious, voluntary and learned, while most control farther down is instinctual, autonomic and reflexive.

Now we know that if the musician-to-be is feeling insecure within herself, the facility of her control on her instrument will be compromised and she may never become an accomplished (creative) artist. Perhaps she will lack precision in her movements, as she trembles and frets. Or else she may grip down with such force that she produces a strained and unpleasant sound. She is not free to create because her insecurity is interfering with her artistic control.

If instead she is inwardly grounded, her movement on the instrument will strike the perfect balance of control and freedom, thus serving as a spring of creative intention. Her attention can then be dedicated to the purpose of playing – the feeling she wants to express and evoke, where she wants to go with the music, or where she wants to take her audience.

How does this translate to the creative life? It should be obvious, but let’s talk it out.

Creativity (or living out your creative purpose) is in dynamic interplay with security (your ability to stay grounded). When you are calm and inwardly established, the control you bring to the tasks of living will be in balance with the freedom that your skill mastery makes possible.

The greater your mastery – what I earlier called “facility” – the less conscious attention is required in the performance of a skill, which means that consciousness is liberated for creative expression and accomplishment. But if your manipulations are too effortful, to the point where you become frustrated and try harder to force an outcome, the gears will likely seize up and the performance will crash.

The creative life is living on purpose and with purpose. You are able to go beyond yourself because you are not obsessed with yourself. Letting go and getting grounded lets you take up your life with creative intention.

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Posted by on October 10, 2013 in The Creative Life


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