Religious Syncretism and Art in the Nineteenth and Twentieth Centuries

Religious and cultural syncretism, particularly in visual art in the Jewish and Christian traditions since the 19th century, has expressed itself in diverse ways and reflects a broad and layered series of contexts. These are at once chronological—arising out of developments that may be charted over several centuries before arriving into the 19th and 20th centuries—and political, spiritual, and cultural, as well as often extending beyond the Jewish–Christian matrix. The specific directions taken by syncretism in art is also varied: it may be limited to the interweave of two religious traditions—most often Jewish and Christian—in which most often it is the minority artist seeking ways to create along lines consistent with what is created by the majority. It may also interweave three or more traditions. It may be a matter of religion alone, or it may be a matter of other issues, such as culture or gender, which may or may not be obviously intertwined with religion. The term “syncretism” has, in certain specifically anthropological and theological circles, acquired a negative connotation. This has grown out of the increasing consciousness, since the 1960s, of the political implications of that term in the course of Western history, in which hegemonic European Christianity has addressed non-Christian religious perspectives. This process intensified in the Colonial era when the West expanded its dominance over much of the globe. An obvious and particularly negative instance of this is the history of the Inquisition as it first affected Jews in late-15th-century Spain and later encompassed indigenous peoples in the Americas, Asia, and Africa. While this issue is noted—after all, art has always been interwoven with politics—it is not the focus of this article. Instead “syncretism” will not be treated as a concept that needs to be distinguished from “hybridization” or “hybridity,” although different modes of syncretism will be distinguished. Syncretistic preludes to visual artists in the 19th and 20th centuries, suggesting some of the breadth of possibility, include Pico della Mirandola, Kabir, and Baruch/Benedict Spinoza. Specific religious developments and crises in Europe from the 16th century to the 18th century brought on the emancipation of the Jews in some places on the one hand, and a contradictory continuation of anti-Jewish prejudice on the other, the latter shifting from a religious to a racial basis. This, together with evident paradoxes regarding secular and spiritual perspectives in the work of key figures in the visual arts, led to a particularly rich array of efforts from Jewish artists who revision Jesus as a subject, applying a new, Jewishly humanistic perspective to transform this most traditional of Christian subjects. Such a direction continued to spread more broadly across the 20th century. The Holocaust not only raised new visual questions and possibilities for Jewish artists, but also did so from the opposite direction for the occasional Christian—particularly German—artist. Cultural syncretism sometimes interweaves religious syncretism—which can connect and has connected Christianity or Judaism to Eastern religions—and a profusion of women artists in the last quarter of the century has added gender issues to the matrix. The discussion culminates with Siona Benjamin: a Jewish female artist who grew up in Hindu and Muslim India, attended Catholic and Zoroastrian schools, and has lived in America for many decades—all these aspects of her life resonate in her often very syncretistic paintings.