Essay

Belief

Creed

29 June 2023

9 min read

Elephants on mountain tops: thinking better about religious pluralism

In the first of a short series on pluralism, philosopher Barnabas Aspray explores the key questions about different beliefs.

Barnabas Aspray

Barnabas Aspray is Assistant Professor of Systematic Theology at St Mary’s Seminary and University.

Daniel Kim

It used to be easy to assume that other religions are wrong and ours (or our non-religion) is obviously right, without even giving reasons. Those who belonged to ‘other religions’ were far away from us, foreign in their culture and clearly wrong about so many things. But we no longer live in a society with a common religious framework. Members of different religions rub shoulders with one another and with ‘nones’, those of no religion, every day. When those we respect – believe and live differently to ourselves, we are forced to consider the possibility that their way of life may be reasonable and not absurd. We see how arrogant and immature it is to assume that our culture’s way of doing things is superior. It is like assuming that the nearest house to where we are standing is bigger than houses further away – i.e. it is to forget the perspective on the world which we have simply because of where we are and how we grew up.

We have learnt to celebrate cultural diversity as a good thing, not a threat or a problem. So should we do the same with religious diversity? Is it possible to be ‘religiously neutral’? If one religion is right, does it mean all others are wrong? Or is it better to believe that ‘all religions lead to God’?

Cultural plurality vs. religious plurality

There are many definitions of the word ‘religion’. Some have even claimed that it’s a false category made up by colonial powers who projected Christian categories onto non-Western cultural expressions. However, there is a coherent core to the meaning of religion which connects the word’s historical origins to today’s context.

Long ago there was no word for religion because it was simply an aspect of culture; there was no concept of any divide between ‘natural’ and ‘supernatural’, or ‘physical’ and ‘spiritual’. But at some point, the ancient Romans noticed something about the nations they conquered that could not be explained simply as a cultural practice, which had to do with the ‘worship of the gods’. So they invented the word religio which literally means either ‘reading again’ or (more likely) ‘binding again’. Throughout this article I will take this ancient original meaning as a starting point, using ‘religion’ to mean the ‘bond’ between humans and ultimate reality, the commitment we feel towards what lies beyond the visible world, and our indebtedness to whatever gives us all we have and are. Although in the ancient world it was possible to worship many gods at once, today most religions are exclusive, claiming absolute allegiance and offering an ethical framework along with ritual practices. That is why this definition of religion – of an ultimate bond of allegiance – is the most helpful for engaging with today’s situation.

To believe something does not only mean to think it true in your head. It means to follow the implications of that belief in your behaviour and life decisions, even when it costs and means doing things you’d rather not do.

If we understand religion as our whole-life commitment to what is of ultimate value and importance, it becomes obvious that for those who are deeply religious, their religion is all-encompassing and transforms how they think and act in every part of life. That is why asking about the truth of a religion is not a fun pastime for idle curiosity. It changes your behaviour. To believe something does not only mean to think it true in your head. It means to follow the implications of that belief in your behaviour and life decisions, even when it costs and means doing things you’re rather not do. We all have skin in the game when it comes to religion.

But how can we commit to a single religion when there are so many options that seem equally plausible? In other words, how do I seek the truth, and how do I know it’s the truth when I’ve found it? Let us begin with three common approaches to religious pluralism in contemporary society.

The elephant and the mountain

A popular model imagines each religion as a blind man touching a different part of an elephant. One says the elephant is like a snake, another that it is like a wall, and another that it is like a tail. They disagree over what the elephant is like, because each of them has only part of the truth, and none of them can see the whole truth.

A similar image is that of a mountain, with the truth at the top, and each religion seen as a path up the mountain. Each of us must pursue the truth as it seems to us, and the closer we get to the truth, the closer we will come to each other, until we reach the top together.

The main problem with this way of thinking about multiple religions is that both analogies – the elephant and the mountain – assume that it’s possible to have a perspective that is superior to any existing religion. If you can see the elephant, then you are not yourself one of the blind men; by implication you have far greater insight than them. If you can see the paths up the mountain, then you can’t be on any of them. The adopter of the analogy sees themselves as more enlightened and closer to the truth than any of the particular religions. This means unconsciously assuming a privileged (and rather patronising) super-religious point of view that surveys all the religions from a non-committed standpoint. But this is simply to create a new religion and to evaluate all the existing religions in light of it. It is the religious equivalent of doing what is done in technology that this XKCD comic makes fun of:

How Standards Proliferate

This view also assumes that all the manifold teachings of every religion are compatible and non-contradictory, which seems a stretch. To be sure, many aspects of religious practice are often seen as equivalent cultural expressions – priests, rabbis, imams, and gurus being roughly equivalent, or churches, mosques, temples, and synagogues, or the Bible, the Koran, and the Bhagavad Gita. Even these ‘equivalences’ turn out to be far more complicated than a superficial glance imagines. More obviously, the ethical teachings for life-guidance contain incompatible ideas. You can only really see the incompatibility if you’re trying to live according to these teachings. Then you will find that it's impossible to follow all of them at once. To switch to politics as an example, should Marxism, Nazism, and Capitalism all be seen as paths up the same mountain? Are these political models all like blind men or ways up a mountain? The near-universal repulsion to this idea is the root of Godwin’s Law (i.e. if there’s anything we all agree on, it’s that Nazism is bad). If the elephant/mountain analogy doesn’t work for politics, why would we assume that it works for religions? We can only assume that if we think ourselves in a position to judge all religions by some standard external to any of them. Where did we get that standard from? Each religion claims to be such a standard itself. To make the point really clear: even Nazism is only bad in light of a particular set of religious and ethical commitments, and only those commitments can provide the reasons for why Nazism is bad.

For a religious practitioner – for anyone who has left the comfortable ivory-tower armchair of comparative religion and is seeking serious guidance on how to live and understand the world – this super-religious position is not an option. The only thing we can do is to take a position concerning these questions, which is to be one of the paths, be one of the blind men, and no longer pretend to have any superior viewpoint.

The pick-n-mix buffet

I would summarise this view as saying, in essence, “I don’t think any one religion has the whole truth. They all have some things right and some things wrong. I pick the bits that are good about each religion and kinda go my own way.”

This view has soared to great popularity in recent decades. It seems eminently reasonable and mature, and by contrast, to imagine that one religion happens to have everything right seems naïvely narrow-minded. Isn’t it better to filter each religion for what’s best about it?

But this view also has a problem. A religion claims to be a guide to understanding what is good and bad in the first place. If each of us were able to judge good and bad reliably and consistently for ourselves, there would be no different religions in the first place – they would never have existed. This pick-n-mix approach assumes the opposite: that I already have the truth, and am therefore able to recognise its presence or absence in the world’s religions. This view hasn’t got past the first hurdle of cultural relativity, which is to understand that all knowledge is situated in a particular culture and moment in history. The holder of this view, like the holder of the previous view, has created a new religion for themselves, with a single member who is also its high priest.

Each of the major religious traditions developed over thousands of years, and contains great riches and wisdom from across many ages and cultures. They deserve respect at the very least. What makes any 21st century individual think that they have deeper insight into the truth than any of these great, long traditions of belief and lifestyle? It would be better to belong wholly to any of them, to submit to its teachings even when they are uncomfortable and conflict with contemporary wisdom, than to take this supremely arrogant standpoint of claiming to be the judge of them all.

Can you belong to more than one religion?

This is another common question for those who engage with the question of religious pluralism. It is worth taking seriously because there are people who mean it sincerely and are not just spectators who judge from a distance. I have a friend who tried for a long time to be a faithful Buddhist and Christian at the same time. He emphasised the overlap between the two, especially in the emphasis on compassion, self-denial, and not belonging to the world. He drew on the spiritual resources of both as much as he could, and tried to find ways of reconciling apparent contradictions between them. But one day he realised that this wasn’t working for him, although he couldn’t quite explain why. He was feeling torn between the two, as he tried to go deeper into each. Why is it that I feel compelled to pursue one at the expense of the other, he asked me? This is the answer I gave.

Suppose you went to the Buddha and asked him ‘what do you think of Jesus and of following Jesus?’ And suppose the Buddha said, ‘Jesus is great! What a great idea for you to follow him!’ And suppose you took the Buddha’s advice and chose to follow Jesus. What would be the basis for your trust in Jesus? It would be a consequence of a prior trust in the judgment of the Buddha. Or suppose the opposite: that you went to Jesus and asked him, ‘what do you think of the Buddha?’ and Jesus said, ‘The Buddha is a wonderful example of the values of the Kingdom of Heaven. He is worth listening to.’ You would then learn from the spiritual wisdom of the Buddha, but only because Jesus suggested it. In both cases one is the supreme judge who judges the other, even if that judgment is positive.

There can only ever be one supreme judge in your life, where the buck truly stops. There can only be one final arbitrator, because no matter how similar any two may seem, eventually there will come a place where they tug in different directions. For many people, that supreme judge is really themselves, even if they’re not aware of it. But to belong to a religion means to have submitted to that religion as the supreme judge of reality, which entails subordinating your judgment to the judgment of that religion.

Now, if all the above is correct, then the question of religious pluralism cannot be approached or evaluated from a transcendent non-committed position. Even non-religion turns out to be using a standard of truth and goodness to judge other positions. There is no ‘neutral’ way of evaluating or positioning the diverse religions in relation to each other. The only way to do it is from a particular religion. What, then, is the Christian approach to other religions? How should Christians think about them? That will be the topic of a second article.

Article

Art

Belief

Culture

24 July 2025

5 min read

Critics and curators are missing this about contemporary artists

An interview with Jonathan Anderson

Jonathan Evens

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

A metak sculpture outlines an altar, stands on a beach.

Kris Martin, Altar.

Throughout much of the twentieth century, many modern artists engaged with religion in and through their work but art critics and art historians routinely overlooked or ignored those aspects of the work when writing about it. They did so because of a secularisation agenda that overrode reflection on key elements of the art that artists were creating.

In Modern Art and the Life of a Culture, Jonathan A. Anderson, together with William Dyrness, recovered some of the religious influences explored in the work of key modern artists by writing an alternative history of modern art. Now, with The Invisibility of Religion in Contemporary Art, Anderson has addressed the central issue, which is the way in which art critics and historians have written about modern and contemporary art.

JE: What is it about this situation – that modern art has often wrestled with God, but critics and curators haven’t always shared that focus – that engages your interest and motivates you to write so compellingly about it?

JA: The more I have studied and circulated through the worlds of contemporary art (first as an artist, then as a critic), the more attentive I became to significant disconnects in the ways we talk and write about religion in modern and contemporary art. Many prominent artists working today and over the past century have been shaped by religious traditions, and their works are in serious dialogue with those traditions in various ways and from various perspectives. Their relationship to religion might be highly conflicted or nuanced—it often is—but it is a live issue in their work and one can talk with them about it in their studios or in informal settings. But when one moves to the critical writing and public discussions about these artists’ works, this aspect either disappears altogether or is discussed in ways that are clumsy, stifled, or shapeless.

The aim of a lot of my work is to understand in a non-superficial way why this has been the case, why there has been a recent resurgence of discussions of religion and spirituality, and how we might develop more substantive ways of thinking and speaking about these topics.

JE: What did you find most surprising as you undertook the research for both books?

JA: I am consistently surprised at how sprawling and dense this topic is. Once one begins rethinking ‘the strange place of religion’ in the histories of modern and contemporary, the more one finds that there is an enormous amount of material that deserves renewed investigation. Both books give a strong sense of this, but chapter three in my new book is especially full of sign-pointers toward items that require further exploration.

To give one concrete example, I found myself referring to several major curated group exhibitions that, in one way or another, significantly address topics of religion and spirituality in twentieth- and twenty-first-century art. As I began to look more seriously at the history of such exhibitions, this curiosity swelled into a huge endeavour. Over the course of several years, I assembled a long list of exhibition catalogues and other documentation—the most comprehensive list of its kind that I’m aware of—which in turn helped me not only to recognize how prevalent interest in these topics has been but to think through the diversity of approaches. A version of this list is published in The Invisibility of Religion in Contemporary Art as an appendix, and the full, updated list is also available on my website. I hope it’s a valuable resource for others.

JE: Both books offer ideas and suggestions for constructive ways to understand, address and write about the relationship between art and religion going forward. In Modern Art and the Life of a Culture there is the idea of a charitable hermeneutic, while in The Invisibility of Religion in Contemporary Art you offer substantial new frameworks for discussing art and religion. Why is it important that the dialogue between art and religion finds paths to conversation rather than conflict?

JA: This is an important question. The public dialogue between contemporary art and religion has been relatively dysfunctional for much of the past century, often riddled with mutual antagonisms, melodramatic controversies, misunderstandings, and mutual unintelligibility. But art and religion are complex, vital domains of meaning that have continued to deeply shape each other up to the present and that have an enormous amount to ‘say’ to one another today, both critically and constructively. My own experience is that the more the participants in this conversation become attentive to and conversant in the other’s history, vernacular, and ways of thinking, the more highly constructive and mutually enriching the dialogue becomes.

I think this kind of dialogue has everything to do with cultivating mutual care and love of neighbour. The art world is a series of loosely connected communities full of people who are your and my neighbours. I happen to really care about these communities who make, exhibit, and talk about art, despite their problems. And the same might be said about various religious communities, who have their own problems and who often have more complicated interrelations with those art communities than is generally recognized. Wherever you’re coming from—the arts, the church, or otherwise—I’m interested in expanding dialogue oriented toward loving one’s neighbours, or even one’s enemies if that’s how it must be. At the most basic level, that means listening in a way that tries to discern others’ animating cares and concerns.

JE: Do you see any parallels or differences between the way the relationship between secularism and religion has played out in the world of art and the way the broader relationship between the two has been shaped in Western society in the same period?

JA: This is a fascinating but complicated question. For some people, the whole point of the artistic avant-garde was to enact and exemplify, in a highly concentrated way, the secularization of Western society. At the same time, however, it was also widely recognized that the arts have, in almost all places and times, been deeply interconnected with religion and spirituality, and this was, in some conflicted or repressed way, still likely the case for much of the avant-garde as well.

Secularization has meant the pressurizing and pluralizing of religious belief, sometimes corresponding to disaffiliation from traditional organizations, but this has relatively little to do with an eradication or obsolescence of religious belief. Indeed, any notion of what Rosalind Krauss memorably described as an ‘absolute rift’ between ‘the sacred’ and ‘the secular’ is really just shorthand for some kind of social conflict, because there’s not really any rational way to absolutize these as mutually exclusive. Whether acknowledged or not, religion still provides the metaphysical and ethical groundings of modern secularity, and modern secularity provides the social conditions for contemporary religion. In this context, distinctions between religiosity and irreligiosity are often ambiguous, running through each of us in unexpected and ever-changing ways (rather than simplistically separating us from each other). In my view, contemporary art is highly illuminating to these broader dynamics. Anyone who has spent any extended time in the worlds of modern and contemporary art knows that they are full of spiritual and theological struggle. To put it succinctly: contemporary art is not an art of unbelief and nonpractice but an art of conflicted, pressurized belief and practice, which is theologically significant if attended to as such.

The Invisibility of Religion in Contemporary Art, Jonathan A. Anderson (Notre Dame Press)

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