Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic
Abstract
:1. Prelude to Cubism and Preaching
2. What Is Cubism?
3. A Theology of Cubism
The iconography of religious art had nothing to do with cubism, of course, and the narrative element was quite opposed to cubist precepts, yet in its devotion to harmonics and revelations beyond personality, cubism might be thought of as a religious art without religious doctrine.20
4. Cubist Preaching: Three Theological-Homiletic Fundamentals
4.1. Multiperspectival Dual-Constructive Hermeneutic
4.2. Beyond Inductive or Deductive: Toward Ubi-Ductive
4.3. Communication in Cubist Preaching
5. Conclusions
Funding
Conflicts of Interest
References
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1 | For Ronald Allen, this rationalistic tendency begins with the problem of the conventional homiletic interpretation of the text, which is the springboard for the sermon construction in most cases. He states that “much traditional exegesis is one dimensional. It focuses on the rational element in the text and attempts to answer questions like ‘What did this text mean in its ancient context?’ Even synchronic exegesis tends to be highly analytical and to discuss the text as if it were an inert object of research.” For Allen, “a major purpose of exegesis” is “to let us enter the world of the text on its own terms.” Allen (2009), Contemporary Biblical Interpretation, 108. Later in this chapter, cubist hermeneutic is introduced as one of the ways of entering the world of the text on its own terms, from which cubist preaching arises, a preaching form that allows more open-endedness and meaningful literary incompleteness. |
2 | In the modern and postmodern homiletics, these two—inductive and deductive—seem to be the two overarching methodological categories that encompass most of available sermon forms. See the excellent survey of current sermon forms or patterns studied in Ronald Allen ed., Patterns of Preaching: A Sermon Sampler (Allen 2006), O. Wesley Allen, Determining the Form: Structures for Preaching (Allen 2008), and Lucy Atkinson Rose, Sharing the Word: Preaching in the Roundtable Church (Rose 1997). A major denominator that most, if not all, of sermon forms studied in these sources share is the agreement on the literary structural coherency or completeness of the sermon with one central message. |
3 | “Guernica,” one of the most representative cubist works by Picasso, can be seen at https://www.museoreinasofia.es/en/collection/artwork/guernica (accessed 1 on December 2019). Paul Tillich once called the art work “a most Protestant painting.” Paul Tillich (1957), “Protestantism and the Contemporary Style in the Visual Arts,” The Christian Scholar, vol. 40, no. 4 (Dec. 1957), p. 307. |
4 | Admittedly, cubism represents more than an art movement in painting alone. Architecture, poetry, literature, music, dance, etc. also absorbed and contributed to the cubist movement. Yet cubism did begin with painting, and painting is still considered to have initiated the movement, Picasso and Braque being the earliest cubist painters. Note that this article focuses on analytic cubism, rather than on synthetic cubism, the latter being the further development of the former years, which included collage and papier collé. For more discussion on the analytic and synthetic, see Paul Waldo Schwartz, Cubism (Schwartz 1971), pp. 9–11. |
5 | Regarding the spiritual or theological nature of arts in general, Roman Catholic theologian Karl Rahner contends that “theology cannot be complete until it appropriates these arts as an integral moment of itself and its own life, until arts become an intrinsic moment of theology itself.” Karl Rahner, “Theology and the Arts” in Theological Aesthetics: A Reader, ed. Gesa Elsbeth Theissen (Grand Rapids, MI: Eerdmans, Theissen 2005, p. 218). We will see later that cubism, as one of the most significant artistic movements of the twentieth century and beyond, is no exception in this integral relationship between arts and theology. |
6 | Many homileticians agree with and promote this aesthetic nature of preaching in their influential publications. They include: Jana Childers, Performing the Word: Preaching as Theatre (Childers 1998); Jana Childers and Clayton J. Schmit, Performance in Preaching: Bringing the Sermon to Life (Childers and Schmit 2008); Eugene L. Lowry, The Homiletical Plot: The Sermon as Narrative Art Form (Lowry 2000); Henry H. Mitchell, Black Preaching: The Recovery of a Powerful Art (Mitchell 1990); Olin P. Moyd, The Sacred Art: Preaching & Theology in the African American Tradition (Moyd 1995); Leonora Tubbs Tisdale, Preaching as Local Theology and Folk Art (Tisdale 1997); and Thomas H. Troeger, Imagining a Sermon (Troeger 1990). This last commonality is indeed the very ground upon which my article builds. Yet, due to the given universal perception of preaching amongst homileticians at least, I will not devote much attention this third commonality here, but simply assume it. |
7 | Since the early twentieth century, Cubism has engendered, or at least contributed to, almost every single modern art movement. Futurism, suprematism, Dadaism, De Stijl, surrealism, modern architecture, etc., all owe their initial development to cubism in spite of the latter’s relatively short life span (1907–1925). John Richardson, A Life of Picasso: Volume 2, The Painter of Modern Life, 1907–1917 (Richardson 1996), p. 9. Art historians and critics do not dispute this statement. See Neil Cox’s art movement chart that traces cubism’s influence on most of the twentieth-century art movements. Neil Cox, Cubism (Cox 2000), p. 389. In this sense, cubism still lives through and dictates many art styles of the twenty-first century that are progenies of the modern art innovations recounted above. This indicates that postmodern or modernist people’s lives are, by and large, being influenced by cubist thinking imbedded in most contemporary art forms. Thus, it is no wonder that many museums and art galleries around the world still display the works of Picasso and Braque—the originators of Cubism—almost every season as a source of continued artistic inspiration. Edward F. Fry sees 1907–1914 as the period of Cubism’s seminal development and 1914–1925 as a further development of cubism, yet without that latter period showing any real innovation or renovation. Edward F. Fry, Cubism (Fry 1966), p. 11. Douglas Cooper shares almost the same periodization in his The Cubist Epoch. He sees 1906–1908 as the era of “early cubism” when Picasso and Braque were inventing the cubist way of painting and 1909–1914 as the era of “high cubism” when Juan Gris became prominent. Finally, Cooper designates 1914–1921 as the era of “late cubism” or the last phase of cubism. Douglas Cooper, The Cubist Epoch (Cooper 1971). |
8 | Read the following, especially the last sentence, from René Descartes himself in Discours de la méthode, in Oeuvres De Descartes, ed. Charles Adam and Paul Tannery (Descartes 1996), vol. 6, p. 33: “Next, I examined attentively what I was. I saw that while I could pretend that I had no body and that there was no world and no place for me to be in, I could not for all that pretend that I did not exist. I saw on the contrary that from the mere fact that I thought of doubting the truth of other things, it followed quite evidently and certainly that I existed … From this I knew I was a substance whose whole essence or nature is simply to think, and which does not require any place, or depend on any material thing, in order to exist” (as translated by Pau Pedragosa in his article (Pedragosa 2014), “Multiple Horizons: Phenomenology, Cubism, Architecture,” The European Legacy, 2014, vol. 19, no. 6: 747–64). |
9 | Mines, Cubism, 9. |
10 | Martin Heidegger, Sein und Zeit, Gesammtausgabe 2, ed. Friedrich Wilhelm von Herrmann (Heidegger 1976), p. 153. |
11 | For instance, imagine a busy street being painted onto a canvas over a certain period of time. When the painter comes back next day or even just after lunch to finish the painting, because of the changed light the street’s color and its occupants have changed. Given that reality, how is it be possible to have an objective and unchanging view of the street as Cartesian methodology insists? |
12 | Edmund Husserl, Ideen zu einer reinen Phänomenologie und aphänomenologischen Philosophie, Band I, in Gesammelte Werke, Husserliana 3/1, ed. Karl Schuhmann (Husserl 1976), pp. 86–89. |
13 | There is a well-known story regarding Picasso’s view of reality. One day, Picasso was on a train when a fellow passenger who had known Picasso’s cubist works approached him and asked why he depicted the reality only through complex distortion, not exactly as it was. Picasso then asked him what exact reality would look like. The man pulled a photograph of his wife from this wallet, showed it to Picasso, and confidently declared that the picture was what the reality was like. After taking a look at it and turning it around in his hand, Picasso finally said, “She is too small. And flat.” As narrated and quoted in Mike Huggins and Mike O’Mahony, The Visual in Sport (Huggins and O’Mahony 2012), pp. 80–81. |
14 | Cooper, The Cubist Epoch, pp. 20–27. |
15 | Maurice Raynal once said, looking at Juan Gris’ Man in a Café, “We never, in fact, see an object in all its dimensions at once. Therefore what has to be done is to fill in the gap[s] in our seeing. Conception gives us the means. Conception makes us aware of the objects that we should not be able to see … and so, if the painter succeeds in rendering the object in all its dimensions, he [sic] achieves a work of method which is of a higher order than one painted according to the visual dimension only.” Quoted in David Cottington, Cubism (Cottington 1998), p. 55. |
16 | Ibid., p. 52. |
17 | Imagine a person observing Rodin’s The Thinker for five minutes by moving around it and creating a multi-dimensional image of it in mind. |
18 | Mines, Cubism, p. 34. |
19 | This is why many cubist adherents—painters as well as poets, novelists, mathematicians, and the like—were drawn into the fourth dimension argument, which was more than simply aesthetical and instead religious. For more discussions on this subject, see Linda Dalrymple Henderson (2009), “The Image and Imagination of the Fourth Dimension in Twentieth-Century Art and Culture,” Configurations, vol. 17, no. 1–2, 2009 (winter): 142–47 and Schwartz, Cubism, p. 12. |
20 | Schwartz, Cubism, p. 12. |
21 | Michael Austin, Explorations in Art, Theology, and Imagination (Austin 2005), p. 156. |
22 | Mecislas Golberg, La Morale des Lignes (The Moral Philosophy of Lines) (Golberg 1908), p. 32. Translated and quoted in Fry, Cubism, p. 45. |
23 | Guillaume Apollinaire, “The Cubist Painters,” in Theories of Modern Art: A Source Book by Artists and Critics., ed. Herschel B. Chipp with contributions by Peter Selz and Joshua C. Taylor (Apollinaire 2016), p. 224. |
24 | Ibid. |
25 | Quoted in John D. Caputo, ed., Deconstruction in a Nutshell: A Conversation with Jacques Derrida (Caputo 1997), p. 25. |
26 | Mark C. Taylor, The Picture in Question: Mark Tansey and the Ends of Representation (Taylor 1999), p. 40. |
27 | John D. Caputo, ed., Deconstruction in a Nutshell: A Conversation with Jacques Derrida (Caputo 1997), p. 41. |
28 | Richard Lischer, A Theology of Preaching: The Dynamics of the Gospel (Lischer 2001), pp. 1–15. Lischer writes, “Preaching is the final expression of theology. It has been toward preaching that theology has been tending. After the exegete has told us what the text once meant … the preacher to borrow Ebeling’s phrase, executes the text by helping it to speak to a particular time, situation, and people. The majority of Christians encounter theology only in this, its final form, preaching. Ibid., 14. |
29 | John S. McClure calls various these textual viewpoints and meanings “permutations” (or “other origins or goals” of permutations) in his Levinisian deconstructive understanding of the Scripture. While his approach to and application of deconstruction has a more ethical emphasis (i.e., seeing and hearing “others” in the text), my approach is more literary that is a multi-perspectival endeavor to expose and explore multilayered meanings and transcendence of the text. John S. McClure, Other-wise Preaching: A Postmodern Ethic for Homiletics (McClure 2001), p. 24. |
30 | Roland Barthes, Image, Music, Text, trans. Stephen Heath (Barthes 2007), p. 146. |
31 | I am merely adopting his language and its functional nature. Buttrick does not argue for multiple points of views executed over the text. Rather, he prefers that one point of view be used for each “move.” David G. Buttrick, Homiletic: Moves and Structures (Buttrick 2008), pp. 55–68. |
32 | See footnote 1. |
33 | For Otto, mysterium tremendum refers to the ‘‘determinate affective state’’ of the human mind or feeling gripped or stirred by that which is a mystery inexpressible and above all creatures. Rudolf Otto, The Idea of the Holy: An Inquiry into the Non-Rational Factor in the Idea of the Divine and its Relation to the Rational, trans. John W. Harvey (Otto 1958), pp. 12–40. Otto devises the term “numinous” in order to name a particular state of the mind experiencing numen. The numinous state or status of the mind cannot be taught or learned; “it can only be evoked, awakened in the mind; as everything that comes of the spirit must be awakened.” The mysterium tremendum is the fundamental nature and manifestation of being numinous, especially in terms of “feeling.” Ibid., 7, pp. 11–12, 65–71. |
34 | One example of the preacher’s mysterium experience is provided in my other article, “Homiletic Aesthetics: A Paradigmatic Proposal for a Holistic Experience of Preaching,” Theology Today 73, no. 4: 364–77. |
35 | In their study of metaphor par excellence, George Lakoff and Mark Johnson shows how metaphors in people’s ordinary lives as well as in language and text. Basically, they realize that without metaphors human communication would be very limited in its meaning making and conveyance. More importantly, metaphors in communication creates large space for different interpretations of the same situation and the same text. This situation may sound quite devastating as if “genuine” communication is impossible. At the same time, however, metaphoric language allows us wide-open room for creative and radical—which I would call “multi-perspectival theo-symbolic” in the context of preaching—perceptions and interpretations of the text. George Lakoff and Mark Johnson, Metaphors We Live By (Lakoff and Johnson 2017), pp. 1–14. |
36 | Here I intentionally do not use the phrase “understanding the text” as that phrase more often than not prioritizes logical-rationalistic or scientific-naturalistic reasoning. I prefer “encountering the text,” and find it to be more holistic, for it suggests the text encountered by all human epistemological faculties of mind, spirit, and body. |
37 | For example, see Eugene Lowry, The Homiletical Plot (Lowry 2000), Fred B. Craddock, Preaching (Craddock 2010), Thomas G. Long, The Witness of Preaching, 3rd ed. (Long 2016), and Paul Scott Wilson, The Practice of Preaching, rev. ed. (Wilson 2008). It is true that inductive or deductive preachers may practice the multiperspectival hermeneutic during their textual interpretation process. Yet, in their final presentation of the sermon, typically they retreat to the one-thesis or one-focus, if not one-dimensional, method of preaching; that is, “one central message for one sermon.” |
38 | Biblical scholars like Gary D. Martin indirectly support the multi-angle cubist approach to textual interpretation by pointing out the multiple origins of many parts of the Scripture. For him, as individual texts went through various stages of composition—that is, multiple sources added to and deleted from same texts—it is unjust to claim only one interpretation of those texts. Multiple interpretations of those texts are possible, and thus multiple or different meanings may arise from same text. See Gary D. Martin, Multiple Originals: New Approaches to Hebrew Bible Textual Criticism (Martin 2011). |
39 | Craddock admits that even his inductive sermon is not totally open-ended (which is supposed to be). His sermon already has—that is, before the message is delivered—a certain desired result that should happen in the listener’s mind. Fred B. Craddock, As One without Authority (Craddock 2001), pp. 79–85. In a similar vein, Long uses the terms “focus” and “function” to refer to the promotion of only one message for a single sermon. Long, The Witness, pp. 113–35. |
40 | See detailed arguments of Lowry’s “loop,” McClure’s “sequence,” Buttrick’s “move,” and Michelle’s “move.” In all those examples, the sermon is time- and logic-constrained. David G. Buttrick, Homiletic: Moves and Structures (Buttrick 2008), Eugene Lowry, The Homiletical Plot: The Sermon As Narrative Art Form (Lowry 2000), John S. McClure, The Four Codes of Preaching: Rhetorical Strategies (McClure 2003), and Henry H. Mitchell, Black Preaching: The Recovery of a Powerful Art (Mitchell 1990). |
41 | Just to mention two more problematic features of deductive and inductive preaching among many: deductive preaching more often than not tends to abstraction by its emphasis on one single message from one text, while inductive preaching relies heavily on human experience thus losing sight of the transcendental nature of the encounter with the Divine. For more detailed discussions on this, see Chaps. 2 and 3 of Lucy Atkinson Rose, Sharing the Word: Preaching in the Roundtable Church (Rose 1997). |
42 | Long expounds upon the four most generic “images” of the preacher people tend to have in mind. The herald is the one who delivers the sacred Word from God (directly) to the listening body, while the pastor is the one who formulates the contextual or situational message best fitting for the particular congregation. The storyteller/poet is the one who through literary qualities of the message helps people widen their imagination of the Divine. Finally, the witness, by oscillating between the roles of the herald and the pastor, is the one whose first-hand encounter and interpretation of God’s word plays a major role in the production of sermon message. While all these images of the preacher still have much merit and should be taken into consideration, there seem to be some areas in cubist preaching that these images cannot fill. Long, The Witness, pp. 19–57. |
43 | Cognitive psychologists have shown that “subliminal contents, analogous to the Picasso imagery, can often be discerned by the viewer, unconsciously [that is, indirectly or allusively]. By unconsciously, it is meant that the subliminal or latent contents are not available to the viewer’s introspective, phenomenal awareness, but nevertheless exert an ongoing, tangible, and measurable effect on both intellectual and emotional responsivity.” Tom Ettinger (1996), “Picasso, Cubism and the Eye of the Beholder: Psychoanalysis and Cognitive Psychology,” American Imago 53, no. 1: 55. |
44 | As the most distinguished characteristic of the postmodern era, Jean-François points out “incredulity towards metanarratives.” Jean-François Lyotard, The Postmodern Condition: A Report on Knowledge, trans. Geoff Bennington and Brian Massumi (Lyotard 2010), p. xxiv. In other words, Lyotard knows that no longer a unified, complete, and universal story or truth claim would get people’s attention and consensus; all the story or the truth claim is partial at its best. This notion of the metanarrative’s absence can be easily applied to the textual interpretation. No longer is there the absolute authoritative hermeneutical principle, under which each textual interpretation is framed (toward only a certain result) and conducted. Now, ways of the textual interpretation are wide-open, and so are their possible results. A step further, the receiver of the textual interpretation by someone else is free to put a hold on that interpretation and to do her own interpretation of the interpretation. Conversely, the text, as a live subject (no longer as a mere object), is freed to interpret the interpreter and the receiver of the interpretation. This whole situation puts all the text, the interpreter (the preacher), and the receiver/interpreter (the participant) in great hermeneutical flux. |
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Yang, S. Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic. Religions 2020, 11, 232. https://doi.org/10.3390/rel11050232
Yang S. Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic. Religions. 2020; 11(5):232. https://doi.org/10.3390/rel11050232
Chicago/Turabian StyleYang, Sunggu. 2020. "Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic" Religions 11, no. 5: 232. https://doi.org/10.3390/rel11050232
APA StyleYang, S. (2020). Picasso for Preaching: The Demand and Possibility of a Cubist Homiletic. Religions, 11(5), 232. https://doi.org/10.3390/rel11050232