The role of spirituality in art education

Syed Gowhar Andrabi

Spirituality reigns supreme in art. Known as the driving force of art, spirituality is art's expressive vehicle as well as a special voice. Human history of arts has never been devoid of spiritual content; artists studied the relationship between art and the spirit for decades. However, during the nineteenth century, technological advancements temporarily eclipsed this relation. Thanks to the radical changes in the progress of arts, spirituality in art resurfaced again (Efland 1990). With the material advances falling short of human expectations in understanding the reality of self, 'arts began once again to be proclaimed as important sources of spiritual insight necessary for the welfare of society' (Efland 1990, p. 51). In view of this, many questions started to gain momentum in academic circles. Such as, when and how does spirituality manifest in art? Is spirituality in art and art education purely a religious concern? Is there a spiritual impetus that fosters creativity? While trying to explain these questions, researchers confronted a few more enquiries of equal importance. For example, what is the connection between spiritual and art education and why has this branch of art (spiritual in art education) received less attention in academic literature and art rooms (London 2007)? This study aims to shed some light on these questions and following on the findings, analyse (a) the role of spirituality in art and art education; and (b) how an artist-teacher can deal with the issues of spirituality in art making and classroom practices? For clarity, the essay initially focuses on spirituality, its position among children and art education. Next follows an investigation of the role of artist-teacher in nurturing the spirituality of children through art, including a brief account of my art practice. Finally, conclusions are drawn about my understanding of spirituality and the learning experiences of my students in the light of the aforementioned questions.

Retrospect

According to Kandinsky, forms are created out of 'inner necessity' (Rubrberg 2005, p. 102), and between a circle, square and a triangle, 'lie an infinite number of forms upon which an artist can draw' (Malorny 2007, p. 65). Therefore, the possibility of creating new forms is immense. However, does spirituality relate to geometrical forms only? If we consider human body as a form, could we fix it in the realm of spirituality? Perhaps yes. Roger Lipsey calls the fresco of Archangel Michael in the church of Mary in Southern Sudan spiritual. Commenting on the fresco Lipsey notes that the serene look on the face of angle, eyes, clothes, and severity are spiritual in art (Lipsey 1988, p. 16).

This work (Retrospect) tries to understand the phenomenon of spirituality in the form of human body. It peeps into the moments of past, reflects on them and contemplates on the inner spirit to find out its nature. Retrospect looks back in to past and tries to visualize future. The work gives hope that a mysterious world, free of illusions lies ahead and invites a viewer to see, understand, and respond to the call of spirit. It is only by seeing deep into the spirit that a person can understand the nature of self, because '[s]eeing is an achievement,' and it helps to make sense of the world we live in (Eisner 2002, p. 12). If the onlooker is able to comprehend the mysterious shapes, writings and marks, the spiritual drama of nature will start to unfold.

Eisner, E. (2002). The Arts and the Creation of Mind. New Haven: Yale University Press.

Lipsey, R. (1988). The Spiritual in Twentieth-Century Art. USA: Dover.

Malorny. U. (2007). Kandinsky. USA: Tachen.

Ruhrberg. K. (2005). Art of the 20th Century (Volume 1). USA: Taschen.

The Spiritual Union

Following on the idea of 'Retrospect' the intention behind The Spiritual Union is to use the human form in order to express spiritual in art. The work is a dramatic blend of spiritual energies of universe, symbolized by a man and a woman. It reunites the viewer with the mystical experience and reminds him about the nature of spirit. The Spiritual Union is a blend of two spiritual universes, positive and negative spiritual energies, and the visible and the invisible dimensions of spirit. The artwork gives viewer a sense of hope and an idea of remorse; which in turn is “the spiritual in art” (Lipsey 1998, p. 16).

· Lipsey, R. (1988). The Spiritual in Twentieth-Century Art. USA: Dover.

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Retrospect

The Spiritual Union