Essay
Belief
Creed
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 is Assistant Professor of Systematic Theology at St Mary’s Seminary and University.

Elephants on Mountaintops
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.

Review
Art
Culture
5 min read

Genesis Tramaine: the painter whose faces catch the spirit

New York's expressionist devotional artist

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

AN experessionist painting shows a face with a large open smile and many eyes.
Oh! Ye’ Faithful, 2024
Almine Rech.

Genesis Tramaine begins her presentation as part of the McDonald Agape Lecture in Theology and the Visual Arts 2025 by singing ‘Amen’, a gospel song popularised by The Impressions in the 1960s. Her presentation about her art is essentially an act of testimony, such as might be given in a Southern Baptist Church in the USA. 

Tramaine is an expressionist devotional painter from the US who is deeply inspired by biblical texts and whose work is held in permanent collections, including the National Gallery of Art in Washington DC. The large expressionist heads she paints are not representational portraits but expressions of spiritual energies and forces within the person, often inspired by and showing biblical figures and saints, as well as church people, family and friends. 

She speaks about having met the Gospel before meeting God, as she attended a strict Southern Baptist Church while growing up. She drew from the back of the church and also wrote thoughts and impressions in notebooks. She says that she loved church but that it fell out of place in her life as she grew up. 

One day, far from home and needing help, she called her Nana on the phone, who said to seek first the kingdom of God. She found quiet in herself and prayed more, finding herself in conversation with herself. On one occasion, disturbed, she couldn't sleep and was experiencing physical manifestations. At this time, she says, she saw all of herself and surrendered to God. In the morning, she read Matthew’s Gospel - seek ye first the kingdom of God. 

The words in the Bible started to make sense to her as a story reading itself to her and she began drawing faces. Her Bible had white images of Christ and Mary, so the words didn't match the images, and this was a spur to paint the women and children of the Bible revealing the beauty of black women in particular. She read the Bible in the King James Version, stopped trying to fit in and found the strength to play with and disrupt narratives. The tools and materials to do this were all one’s that she found in the Bible. 

Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. 

Her current exhibition at the Consortium Museum, Dijon, France, is entitled Facing Giants’ and addresses these issues head-on. She has said of the exhibition: ‘I think it’s important that you paint a real narrative, an honest reflection. I don’t think [my saints] look like saints as they have been given to us...[those] were false narratives. The images of saints that we know and that are projected at us are all white with blond hair—and we all know that that is not true.’  

She has explained that: ‘These are biblical saints who have faced giants whether those giants are actual giants or giants like fear, love, acceptance or non-acceptance, the giants of facing God and not being accepted, giants of judgments… those who have sat in the mud, if you would, and found a way to persevere. And I wanted to spend as much time as I could with those energies and those narratives, as a tool of self-encouragement and as a tool of encouragement for others.’ She feels these energies literally, speaking of entering the room where she paints with a sense of a whole other people - silent saints – being present with her when she is at the canvas.  

While Tramaine emphasises the inspiration of the Holy Spirit in her work, critics have noted her stylistic closeness to graffiti art and she herself has explained that she was familiar with graffiti in her childhood in Brooklyn. Eric Troncy, Director of the Consortium Museum, relates her work stylistically to the expressionism of George Condo, Jean-Michel Basquiat, and Willem de Kooning. Tramaine, though, speaks of other influences including Sister Gertrude Morgan, Romare Bearden, and David Hammond. In the McDonald Agape Lecture, she spoke of Hilma af Klimt and Jack Whitten as inspirations, as well as gaining inspiration from the significance of the Iyoba Idia of Benin in Nigerian culture. 

One of the distinctive features of Tramaine’s portraits is the plethora of eyes that often feature. Eyes are our organ of vision, so faces sporting dozens of eyes are those which, like the saints, achieve the greatest insight into the true depths of reality. Some more recent images have also featured a plethora of open mouths and teeth. Troncy writes that: ‘Her figures, it seems, have started to smile. To shout, perhaps; to sing—why not?; and to talk—most definitely.’ 

This is interesting, in part because, when I asked her in an earlier interview about her influences, she began by speaking about her love of gospel music, including that of Jonathan McReynolds and Le’Andria Johnson. She says this Jesus focused music ‘encourages me to praise from the depth of my soul; to paint, let go and trust from that space’. While she’s ‘not quite sure what happens’ then, ‘Black folk say I catch the spirit’. She speaks of losing time as you paint, saying that you can't be present when painting as you have to trust yourself to the process, surrender, and play in the space. 

This is, in part, why she began her McDonald Agape Lecture presentation by singing. 

Her testimony is essentially simple, direct and profound: ‘I've wanted to be an artist since I was a child. I took my prayers seriously, which means I began to develop a relationship with Jesus Christ, my Lord and Savior … I asked God if I could paint and pray, help and give, as an offering of service for the rest of my life. And the paintings began to mature. I committed to the relationship that painting offers spiritually, in Jesus’ name.’ 

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