Jesus was a performative artist.

Philosophy Forums Religion and Spirituality
1

His art was the embodiment of love.

Although it may be controversial for believers, from a metaphorical perspective, parallels could be drawn between artistic expression and how Jesus communicated spiritual truths and love through parables, sermons, and compassionate actions. Today, the term “artist” is associated with those who create visual, literary, or performing arts. The attribution of the concept of artistic expression to the embodiment of love and teaching can be viewed as a metaphorical or symbolic interpretation, the context of which underlines the creative and transformative aspects of his teachings. The New Testament narratives about Jesus highlight his acts of compassion and love and his teachings, which emphasise principles such as forgiveness, humility, and selflessness.

“The Art of Loving,” the title of a 1956 book by psychoanalyst and social philosopher Erich Fromm, suggests that love is not just a passive emotion but an active and conscious expression. This implies that love requires skill, creativity, and effort to communicate and manifest itself in relationships. This perspective is consistent with the idea that love is not only an emotion but also a practice that requires consideration, compassion, and conscious action. Fromm begins the first chapter with a criticism of the position of love in Western society. He says that although people think love is important, they think that you can’t learn anything about love and that it’s all about finding the right person.

By its very nature, performative art often involves a live and unpredictable experience that engages the audience emotionally and intellectually. This type of art can challenge perspectives, evoke emotions, and provide a unique and transformative encounter. In occupied Israel two thousand years ago, the population may have been drawn to performances that offered a break from everyday life, a different perspective, or a sense of hope or inspiration. The reported healings, preaching, and interaction with people may have contributed to the appeal and curiosity that surrounded his activities. Furthermore, the socio-political context of occupied Israel may have created a hunger for alternative narratives and expressions that address the challenges and complexities of the times. People often seek comfort, inspiration, or a different worldview during times of occupation or unrest, and performances that address these needs may have attracted significant attention.

The healing arts are creative practices that promote healing, wellness, coping and personal transformation. Traditional healing arts include music, art, dance or movement, poetry and writing, and drama therapies. A modern example is Lee Mingwei, a Taiwanese-American contemporary artist living and working in Paris and New York. He creates participatory installations in which people can explore issues of trust, intimacy, and self-awareness, as well as one-on-one conversations - an event in which visitors reflect on these issues with the artist while eating, sleeping, walking, and talking. Lee Mingwei’s work falls within the field of relational aesthetics, a term coined by art theorist Nicolas Bourriaud to describe art that focuses on the interactive and relational aspects of the audience’s experience.

I firmly believe that the attraction to Jesus came from the actions by which he began demonstrating how to embody God’s love. I think it’s entirely possible that this was similar to how the Jewish prophets gained attention in their day. Because of the nature of such acts, he and the prophets attracted as much criticism as praise, and the critics saw their solemn faith reduced to an artistic display. We know that they called Jesus presumptuous, impudent, arrogant, and a sorcerer and eventually accused him of blasphemy, just as artists are often criticised when they touch on similar themes. I have experienced similar criticism a few times when I took artistic license with my statements in church, even though my life was clearly not in danger.

By exercising artistic freedom in interpreting the tradition in which Jesus was raised and by transcending the ritual lifestyle after understanding the underlying principles of the Jewish scriptures as expressed in the prophetic traditions, it was his God “in you” who caused him to be killed. It is always dangerous to question the status quo in authoritarian societies, as his followers, as well as Socrates, discovered. Today, we see such people being accused of crimes that are obviously fabricated accusations with no truth to them, but in the case of Jesus, there may have been unintentional truth in what he was accused of because he embodied the divine principle of love.

It might have remained a local event if a young man named Saul of Tarsus had not been inspired by the idea and created a new theology. The story from there is as tragic as the story described in the Gospel of Mark. The later church loosened its association with the artist Jesus and deified him, became intoxicated with power, and eliminated artistic freedom in favour of strict orthodoxy. Later, church figures who challenged theological authority were atrociously killed, and the truth of embodying the love of God was preserved in small pockets of dissent where people sought refuge and healing.

1 Like
2

I caused a lot of commotion about ten years ago when I said that religion is an art form because I feel that the stories, allegories, fables, and myths all belong in that category. My view aligns with a growing trend in modern discussions of spirituality and religion. Many individuals and scholars argue for a more secular and metaphorical interpretation of religious and spiritual traditions, emphasising the symbolic and metaphorical aspects rather than literal belief in supernatural entities.

The American mythologist Joseph Campbell explored the common themes and symbols in world myths and religions. He emphasised religious stories’ symbolic and psychological aspects, suggesting they tap into universal human experiences and archetypes. He and Carl Jung shared some common perspectives and ideas, and their work has often been seen as complementary. Both emphasised the significance of archetypes, universal symbols, and patterns that recur in the myths, stories, and symbols across different cultures and times. They believed these archetypes reflected fundamental aspects of the human psyche and the collective unconscious.

The former nun turned religious historian Karen Armstrong has written extensively on comparative religion. She advocates for a more compassionate and understanding approach to religious traditions, often highlighting religious language’s metaphorical and symbolic nature. Karen Armstrong’s portrayal of religion is something that exceeds the boundaries of intellectual ideas, as being multifaceted, performative, and based on authentic human experience. For her, religion has been primarily a matter of orthopraxy, not orthodoxy, in most of Western history.

The late American bishop of the Episcopal Church, John Shelby Spong, was known for his progressive and controversial views on Christianity. He encouraged a reinterpretation of Christian beliefs in light of modern knowledge, often advocating for metaphorical understandings rather than literal interpretations. He called Christian theology’s traditional proclamations about life after death “reassuring but spurious, pious clichés.” He said, “People are so used to hearing pious tripe, so I talked about the tragic elements of life and where hope is located. And I don’t think it’s located in assuring them that their loved one is sitting on a cloud somewhere.”

American biblical scholar and theologian Marcus Borg was associated with the ‘Jesus Seminar’ and has written extensively on Christianity. He promoted a metaphorical and symbolic interpretation of the Bible, arguing for a deeper, non-literal understanding of religious texts. He said: “A primary quality of a life deeply centred in God is growth in compassion. This meaning is expressed in perhaps the most succinct summary of Jesus’ teaching in the Gospels”.

The existentialist theologian Paul Tillich explored the relationship between religion and culture. He emphasised the symbolic nature of religious language and sought to reconcile faith with modern intellectual developments. According to Tillich, symbols “come from the womb of what is now usually called the ‘group unconscious’ or ‘collective unconscious’”. According to Tillich, understanding and describing God as a being is a fundamental theological error. Even if we claim that God is the supreme being, we still place him in a hierarchy of beings in which he supposedly does something while lesser beings can influence his decisions. To avoid this problem, it would be best to speak of God as being itself, that is, as the ground of being.

Viewing religion as an art form is an attempt to appreciate the cultural, moral, and aesthetic value of religious narratives, rituals, and symbols without necessarily endorsing their supernatural claims. This approach allows people to explore the richness of different religious traditions from a more secular point of view and to appreciate the cultural and artistic expressions embedded in these belief systems.

There has been a growing interest in spirituality that transcends traditional religious frameworks, focuses on “knowing thyself,” and supports personal growth, mindfulness, and connectedness. This shift often involves drawing inspiration from different philosophical and artistic traditions to create a more inclusive and diverse understanding of spirituality. Spirituality is placed within artistic inspiration, where it becomes a subjective and personal experience that can be appreciated for its emotional and aesthetic qualities rather than relying on dogma or supernatural beliefs. This perspective encourages openness and exploration of diverse spiritual and cultural traditions for their inherent value in shaping human experience and expression.

My perspective acknowledges the mystery and complexity of existence while highlighting the limitations of human understanding in grasping this mystery through conventional means. My emphasis on artistic expression as a medium for exploring and communicating the ineffable aspects of existence aligns with a more symbolic and subjective approach to spirituality. Artistic expression, including literature, visual art, music, and other creative forms, is a powerful tool for conveying abstract concepts and emotions that may be difficult to articulate through traditional language or logical frameworks. It allows for a more nuanced and intuitive exploration of the mysteries of existence, transcending the boundaries of strict rationality.

This perspective resonates with the idea that there are aspects of human experience and the cosmos that defy precise definitions or scientific explanations. By using artistic expression to engage with the ineffable, individuals can delve into the profound and awe-inspiring dimensions of existence, seeking meaning and connection through a more intuitive and imaginative lens. In this way, spirituality becomes a personal and subjective journey, inviting individuals to explore the mystery of existence through their unique interpretations and expressions rather than adhering to rigid dogmas or attempting to reduce the ineffable to rational understanding. It is consistent with the idea that human experience encompasses realms beyond the empirical, and artistic expression provides a valuable means of engaging with the mysteries that transcend conventional understanding.

3

There aren’t really many people here interested in religion and spirituality.

4

No. There Aren’t many people interested in walls of text

Spirit is something most people don’t understand unless they live it.

Even then they are confused.

5

You mean that people don’t read. That’s about it.

6

I read everything you wrote.

We’re in the era of Twitter now.

Most of it is garbage.

But then you get the super intelligent who can say profound things in just a few dozen words.

7

:rofl: :rofl: :rofl:

_
It seems that, whatever the topic or subject-matter, some here just want to talk about themselves… in a world of growing irrelevance, the irrelevant are desperate to be relevant, even if it means trolling in every single ‘active’ thread.

1 Like
8

Mag. You project a lot. You think people smarter than you are narcissists. That just isn’t so.

We live in a new era. We live in the Twitter era.

Philosophers have to say things in a few dozen words now. No longer is intelligence based on walls of text. That’s all I was trying to say.

9

“Walls of text” communicate, that is what is contentious. My text encouraged imagination, which seems to be subordinated because it has become challenging.

1 Like
10

I don’t disagree Bob. But as this species is transitioning, people are having to learn to speak 100,000 words in 100 words.

The super intelligent adapt.

11

…also… replying to something that someone didn’t say, so as to manufacture a self-flattering ‘position’ for themselves that nobody would have otherwise inquired about, exhibiting a lack of any comprehension whatsoever… i.e. trolling.

_
_
Re. the op: Jesus was said to be many things, by many people… one would have to ‘perform’, in order to keep the attention of the gathering crowd, so he is said to have charmed flattered and talked his way into the crowd’s favour… compelling them to listen-on.

He sealed his own fate, when he refused to cease his self-flattering declarations of the paternostic kind… a former-day evangelical, if you will.

12

You can’t speak 100,000 words in 100. That is the problem! Even thinking you can shows how deluded people are - especially if they think they are “super intelligent.”

13

Exactly, these aspects are veiled by pious language, which is why, after watching an artist like Lee Mingwei, I thought, “That’s it!” You have to just adapt the action to your audience, and if it is profound and speaks to people in a desperate situation, it attracts more people. The compulsion comes from within, a yearning for a better situation, a hope for the future. But if, like in Jesus’ situation, you have people who see such actions as heresy and disturbing the peace, and therefore potentially dangerous, and you are licking the boots of the oppressors, it is better in their mind for such a person to die, than have the Romans step in. That is also, according to tradition, what one of the top Pharisees is said to have stated.

14

It might be obvious to readers, but I am trying to take the mythological and supernatural out of the teaching of Jesus, and show that the natural is all we need if we understand that the underlying force of life, and indeed the universe is primary consciousness, which gives existence to all natural phenomena. It is our being part of that primary force, whilst also incarnate in a physical body, that causes our dilemma. The figurative “son of man” unites these two aspects in himself, so that there is no dual perspective but only one - “Hear, O Israel: YHVH is our God, YHVH is one”

15

There was a brilliant social scientist in 1995 who predicted that the internet would just act as an echo chamber that would move us further apart.

Bob putting me on ignore is a perfect example of it. I don’t ignore people. I wear it as a badge of honor.

There are lots of spirits who use extremely sophisticated language to try to get you to commit suicide for shits and giggles. I’m protecting people from them. The cruelty of life is well understood by me.

16

I’m reading a book, entitled “Jesus, the Magician” by Morton Smith. Speaking of the poverty of Jesus, and his followers on page 133 Smith says “ Popularity is not edible. The survival of such a traveling company (a dozen men, with numerous hangers on) implies they had something to sell— an “act” of some sort that could be relied on to bring in contributions… if we can trust the gospels, it was Jesus‘s miracles . Everything centered on him, the others were stagehands. “ Does this jibe with your hypothesis, Bob?

17

Sort of, “Magician” has a different sound to it, but if you remember my blog post I wrote:

Imagine that Jesus was a performative artist, and his art was the embodiment of love.

Although it may be controversial for believers, from a metaphorical perspective, parallels could be drawn between artistic expression and how Jesus communicated spiritual truths and love through parables, sermons, and compassionate actions. Today, “artist” is associated with those who create visual, literary, or performing arts. The attribution of the concept of artistic expression to the embodiment of love and teaching can be viewed as a metaphorical or symbolic interpretation, the context of which underlines the creative and transformative aspects of his teachings. The New Testament narratives about Jesus highlight his acts of compassion and love and his teachings, which emphasise principles such as forgiveness, humility, and selflessness.

“The Art of Loving,” the title of a 1956 book by psychoanalyst and social philosopher Erich Fromm, suggests that love is not just a passive emotion but an active and conscious expression. This implies that love requires skill, creativity, and effort to communicate and manifest itself in relationships. This perspective is consistent with the idea that love is not only an emotion but also a practice that requires consideration, compassion, and conscious action. Fromm begins the first chapter with a criticism of the position of love in Western society. He says that although people think love is important, they think that you can’t learn anything about love and that it’s all about finding the right person.

By its very nature, performative art often involves a live and unpredictable experience that engages the audience emotionally and intellectually. This type of art can challenge perspectives, evoke emotions, and provide a unique and transformative encounter. In occupied Israel two thousand years ago, the population may have been drawn to performances that offered a break from everyday life, a different perspective, or a sense of hope or inspiration. The reported healings, preaching, and interaction with people may have contributed to the appeal and curiosity that surrounded his activities. Furthermore, the socio-political context of occupied Israel may have created a hunger for alternative narratives and expressions that address the challenges and complexities of the times. People often seek comfort, inspiration, or a different worldview during occupation or unrest, and performances that address these needs may have attracted significant attention.

The healing arts are creative practices that promote healing, wellness, coping and personal transformation. Traditional healing arts include music, art, dance or movement, poetry and writing, and drama therapies. A modern example is Lee Mingwei, a Taiwanese-American contemporary artist living and working in Paris and New York. He creates participatory installations in which people can explore issues of trust, intimacy, and self-awareness, as well as one-on-one conversations - an event in which visitors reflect on these issues with the artist while eating, sleeping, walking, and talking. Lee Mingwei’s work falls within the field of relational aesthetics, a term coined by art theorist Nicolas Bourriaud to describe art that focuses on the interactive and relational aspects of the audience’s experience.

I firmly believe that the attraction to Jesus came from the actions by which he began demonstrating how to embody God’s love. I think it’s entirely possible that this was similar to how the Jewish prophets gained attention in their day. Because of the nature of such acts, he and the prophets attracted as much criticism as praise, and the critics saw their solemn faith reduced to an artistic display. We know that they called Jesus presumptuous, impudent, arrogant, and a sorcerer and eventually accused him of blasphemy, just as artists are often criticised when they touch on similar themes. I have experienced similar criticism a few times when I took artistic license with my statements in church, even though my life was clearly not in danger.

18

Well yes, love in general. But a performative artist must do something concretely and in Jesus’ case what drew crowds and support was his healing ministry. Historian, John Dominic Crossan, argues that his healing was based on his acceptance of people who were outcasts of the purity system including the so-called lepers, demon-possessed, prostitutes, and (god-forbid) tax collectors. He welcomed, touched and ate meals with people who were rejected by the righteous classes. There was healing power in these acts which was in marked contradistinction to the Pharisees, Sadducees and the Dead Sea Scroll community who stressed ritual purity. Thus, for Jesus and his original followers did “love” become operational or to use your word “performative”.

19

I agree. It is only with the word “magician” that I had my problems. By accepting people who were outcasts of the purity system, including the so-called lepers, the demon-possessed, the prostitutes, and tax collectors, he was demonstrating the unity of humanity (and arguably of life), which was inclusive by nature. Love is, in my view, the sense of belonging together. It comes at different stages, with different focal points, but essentially love is saying, “We belong together!”

20

Yes, the word magician is ambiguous. In the New Testament, it has both positive and pejorative meanings. The Magi are portrayed as sages, astrologists who divine the birth of the messiah and honor the baby Jesus with gifts according to the gospel of Matthew. But when Simon of Samaria is called a “Magus” in the book of Acts, it has evidently a negative connotation and over the early centuries of the common era, Simon comes to be condemned as the arch-gnostic heretic. But, connotations aside, Morton Smith draws many parallels between the teachings and practices of the canonical Jesus and those of ancient magicians.