Review
Art
Culture
5 min read

Blake, imagination and the insight of God

A new exhibition focuses on seekers of spiritual regeneration and national revival.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

William Blake's illustration of God squatting down to create with his hair and beard blown to one side
Blake's Ancient of Days.
The Fitzwilliam Museum.

The exhibition William Blake’s Universe at the Fitzwilliam Museum, Cambridge, enables visitors to discover a constellation of European Romantic artists who sought spirituality in their lives and art in response to war, revolution and political turbulence. 

The exhibition brings together the largest-ever display of works by the radical British artist, printmaker and poet from the Fitzwilliam Museum's collection, alongside artworks by Blake's European contemporaries such as the German romantic painters Philipp Otto Runge and Caspar David Friedrich – many of which have never been displayed publicly in the UK until now. Though they never met or connected in their lifetimes, Blake, Runge and Friedrich shared an unwavering belief in the power of art to redeem a society in crisis.  

Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. 

The exhibition also places Blake within his artistic network in Britain, drawing parallels with the work of his peers, mentors and followers including Henry Fuseli, John Flaxman, and Samuel Palmer. In the exhibition catalogue Esther Chadwick draws attention to a little-known series of paintings in which ‘Blake is shown partaking in an immense community of like-minded intellectuals of the European Romantic generation.’ These include writers and poets associated with Runge, as well as artists and poets such as Flaxman, William Wordsworth and Samuel Taylor Coleridge. Flaxman introduced Charles Augustus Tulk, a well-known Swedenborgian, to Blake, to whom Tulk later introduced Coleridge saying ‘Blake and Coleridge, when in company seemed like congenial beings from another sphere breathing for a while on our earth’. 

Exhibition curators David Bindman and Chadwick have said: “This is the first exhibition to show William Blake not as an isolated figure but as part of European-wide attempts to find a new spirituality in face of the revolutions and wars of his time. We are excited to be able to shed new light on Blake by placing his works in dialogue with wider trends and themes in European art of the Romantic period, including transformations of classical tradition, fascination with Christian mysticism, belief in the coming apocalypse, spiritual regeneration and national revival.” 

Independently of each other, Blake and Runge were inspired by the writings of German mystic Jacob Böhme, who, as Bindman and Chadwick explain, ‘believed that all being arises from the dynamic interplay of opposites: between darkness and light, life and death, hot and cold, male and female’. As a result, he viewed our spiritual quest as ‘the reconciliation of differences to produce spiritual and philosophical regeneration’. Bryan Aubrey has also shown that Böhme believed human beings can share in the divine imagination, through which we act ‘with, and on behalf of, the creator’. Böhme ‘equated the strong imagination with the faith that moves mountains’ while Blake believed it ‘is only the imagination’, the faculty we have neglected, which can lead us out of our self-imposed prison. Blake was, as a result, indebted to Böhme for his concept of the imagination and his doctrine of contraries. 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. 

Melanie Öhlenbach has argued that ‘Runge's life, his theory and works bear testimony to Böhme's importance’. For Runge, art ‘is considered as the revelation of God and the artist as its tool, while the artist's imagination creates the insight of God’. He believed it is ‘the artists' duty to re-create the diverging harmony of man and cosmos in the sense of an artistic-spiritual revolution’. She writes that due to his early death, ‘Runge managed only partly to put his ambitions into practice’, notably in his Times of Day series which represent not only the changing times of day, but the seasons, the ages of humanity and historical epochs. Similarly, Friedrich’s seven sepia drawings The Ages of Man are thought to be inspired by Runge’s interest in visual representations of time, meaning that this exquisitely delicate series is associated with the themes of change in nature, the cyclical representation of time and the temporality of human life. 

The significance of these artists is, in part, as prophets within the Christian tradition. Lucy Winkett has noted that ‘Blake’s faith was in the Jesus whom he believed the Church had abandoned’. As a result, ‘he was — and still is — an internal rather than external critic of the way in which the Christian faith is practised by its adherents; and so, for those who have ears to hear, his is a prophetic rather than destructive force within the Christian tradition’. Richard A. Rosengarten states that ‘Blake wanted to stir things up because he thought the Christian revelation was meant to stir things up’. He argues that, for Blake, the ‘first step in doing so (after reading the Bible from stem to stern) was to liberate Imagination from the shackles of Reason’. This is what ‘could make us fully human again, and thus much more approximately the creatures of God that we truly are’.   

Malcolm Guite suggests that both Blake and Coleridge: ‘recognised Jesus as the Divine Imagination and Love bodied forth for us and kindling afresh in us the love and imagination which is God’s lost image deep in our souls. Both men were calling for England (‘Albion’ in Blakes terms) to awaken from the sleep of materialism, greed and conquest, and to be renewed in Christ through an awakening of the spiritual imagination.’ 

This exhibition demonstrates that many of great Romantic philosophers and writers were seeking just such a spiritual regeneration and national revival. In our own time of war, revolution and political turbulence, it may be that this is a prescient exhibition bringing us artists who, as Winkett said of Blake, have ‘a distinctively Christian voice for our time’.  

In Jerusalem, one of Blake’s illuminated books from which many plates are shown in this exhibition, Blake writes: ‘I know of no other Christianity and of no other Gospel than the liberty both of body and mind to exercise the Divine Arts of Imagination – Imagination, the real & eternal World of which this Vegetable Universe is but a faint shadow, & in which we shall live in our Eternal or Imaginative Bodies when these Vegetable Mortal Bodies are no more.’ 

William Blake’s Universe, 23 February 2024 - 19 May 2024, Fitzwilliam Museum.

Watch the exhibition trailer

Article
Belief
Church and state
Comment
Politics
6 min read

Danny Kruger, Christian values, and the dangers of thin religion

Thick or thin? Christianity’s role in Britain’s cultural crossroad

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

A backbench MP stands in an almost empty chamber and speaks
Danny Kruger addressing Parliament.
Parliament TV.

In case you hadn’t noticed, a speech given to an audience of about seven people in a sparse House of Commons recently went viral. Danny Kruger’s recent call for a Christian restoration in the UK has generated a lot of attention. 

I've noticed two distinct responses in recent days. On one side, there are three (or more) cheers for Danny. He has been interviewed at Christian festivals, lauded for a brave, deeply considered and soulful appeal to the Christian heritage of the nation. He has been thinking deeply about this for some time as demonstrated in his book Covenant, sometimes seen as a manifesto for a renewed Conservatism based around the claims of family, community and nation, and summarised in this Seen & Unseen article. As one of the most prominent voices against the recent bills to permit assisted dying and the termination of full-term embryos, he is clearly reeling from the impact of these devastating recent votes in the Commons that, more than anything else, seem to demonstrate how far the nation has slipped its Christian moorings.  

Yet it’s not hard to stumble across another reaction. A former Bishop of Oxford called Kruger’s claim that the UK was a Christian nation anachronistic and counter-productive. Others have pointed out that many Jews, Muslims or hardened atheists would not be delighted to be told that ‘it is your church and you are its member.’ Others question whether there can be such a thing as a 'Christian nation'.

Some have picked up on a darker side to all this. Recent riots outside hostels for immigrants in Rotherham and Norwich showed protesters carrying flags of St George, even brandishing a wooden cross. Stephen Yaxley-Lennon, aka Tommy Robinson, and Nigel Farage have recently been speaking much more openly about the ‘Christian values’ on which Britain is founded, and many on the extreme right seem to have latched onto Christianity as at the heart of what they see as a cultural, civilisational war. Kruger’s talk of the gap left by Christianity’s demise being filled by Islam and, what worries him more, a kind of ‘wokeism’ that blends ‘ancient paganism, Christian heresies and the cult of modernism’, sets up a stark opposition. He goes on: “That religion, unlike Islam, must simply be destroyed, at least as a public doctrine. It must be banished from public life.” Does that language stray a bit too close to the aggressive language of more extreme voices on the right?  

Now I have some sympathy with this. I have written before of how I also fear the pagan gods are making a return. Like Danny Kruger, I too believe the recent votes in the House of Commons are a dark and dangerous turn toward death not life. Yet I can’t shake a nervous feeling that, without some careful thought, we might be summoning up shades we might not be able to control.  

The signs – and the solution - lie in the past. For centuries, Christianity, like all other religions, has been used as a weapon in civilisational wars. It happened in the Crusades of the eleventh to thirteenth centuries. It happened in the Balkan wars involving Serbia, Croatia and Bosnia in the 1990s and 2000. It happened in the ‘Troubles’ in Northern Ireland, where your neighbour being Protestant or Catholic was a reason to kill them.  

Theologians and sociologists sometimes talk of ‘thick’ and ‘thin’ religion. ‘Thin’ religion is simply a badge of identity. It often blends religion, politics and nationalism and serves as a motivation to unite people around a cause, such as Hindu nationalism, Muslim victimhood, or Christian supremacy. It is religion seen purely as a label, a badge of tribal identity over against other religious identities, however deeply felt. It is often nostalgic, ranged against enemies who are determined to destroy it, denigrating those who are not part of the religion as less deserving of value. It sees the Christian god as one of many gods – our god – which we must fight for against other gods, rather than, as Christian theology has always taught, the one true God who sits above all other gods, the God of the whole earth. It is paradoxically a manifestation of the kind of the kind of culture that Danny Kruger hates: “a return to the pagan belief that your value is determined by your sex, race or tribe.” Tommy Robinson’s faith seems as good an example of this as any. This is ‘thin’ religion.

I propose a simple test. If someone advocates Christian values and regularly goes to church, then they have a legitimate voice. 

‘Thick’ religion, however, is different. It is not just a badge of identity, but entails a set of distinct beliefs and practises. It means submitting yourself to the disciplines of the faith. In the Christian context, it a belief in God as Father, Son and Holy Spirit, that Jesus is the Son of God, that he died for the sins of the world, rose again on the third day and will return one day to judge the living and the dead. It involves a serious attempt to live the Christian life, to love your neighbour, and even your enemy, helping the poor and vulnerable, praying regularly, being consistently present at church worship and so on.  

Christian hymns have always had a fair amount of militant imagery, from ‘Onward Christian Soldiers’ to ‘Fight the Good Fight’, and more contemporary ones about God ‘fighting our battles’. Yet this has always meant a serious fight against enemies within – pride, greed, anger and spiritual lethargy. When it became focussed on human enemies, as it did in the Crusades, a line was crossed from ‘thick’ into ‘thin’ religion. 

It's not always easy to tell the difference between those who adopt thick and thin Christianity. I propose a simple test. If someone advocates Christian values and regularly turns up at church, then they have a legitimate voice, and are worth a hearing. If they turn up weekly to hear the Bible being read, to take part in Holy Communion alongside other people, regardless of their ethnicity, wealth or background, pray regularly, then, we can assume, they are serious about it. They are submitting themselves to the discipline of learning Christian faith, seeking to love their neighbour and trying as hard as they can to love their enemies. They may fail from time to time but these are the signs of someone who has grasped the grace of God which is the heart of Christian faith. Danny Kruger passes that test. Tommy Robinson and Nigel Farage, as far as I know, don’t.  

If some shout loudly about Christian values, about the danger of losing the heritage of our civilization and yet show no interest in going to church, living the Christian life, praying or even trying to love their enemies, then we should take what they say with a large pinch of salt. They have no skin in the game. 

When the heart of Christianity is hollowed out, it becomes moralism. It becomes the law not the gospel, as Martin Luther would say. The cross literally becomes a stick to beat others with. Paradoxically, it is only ‘thick’ religion that ends up founding and changing cultures. Early Christianity, the kind that converted the western world, was definitely ‘thick’ religion. It was not just a badge of identity. It had a whole set of distinct beliefs and practices that marked Christians off from the pagan world around them. It did not set out to advocate for political causes in the power corridors of Rome, build a Christian civilisation, lobby Caesar for ‘Christian laws’. It set out to produce people with ‘a sincere and pure devotion to Christ’ as St Paul put it, loving God, neighbour and enemy. And they changed the world by accident.  

Thin religion is a dangerous thing. It uses religion as a tool for dominance and conflict. It makes sceptics think we need less religion in public life. Thick religion is good religion. It forms good people. It builds healthy societies. It’s the kind we need more of, not less.  

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