SYNOPSIS (from the publisher)
From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life
"Makoto Fujimura is the rare artist whose life has something of the same purifying and galvanizing force of his work. His new book brings those two elements—life and art—even closer together, and is a real tonic for our atomized time." —Christian Wiman
Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise.
Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.
QUESTIONS FOR DISCUSSION
What made you want to read this book? Did you appreciate it?
Theology of Making - In this book, Mako develops a “Theology of Making.” This is grounded in God’s creation. He writes on p. 18, “So why did God create? Our view of the creative process and the role of art hinges on how we answer this question. God created out of love. God created because it is in God’s nature to make and create. The Theology of Making assumes that God created out of abundance and exuberance, and the universe (and we) exist because God loves to create.”
Does this change the way you think and feel about your own creative work?
Fruit of the Spirit - Mako puts emphasis on the “fruit” of our beliefs. What we make is the evidence of what we believe. “Unless there is tangible, fruitful reality that is made into the world, what we know, and what we preach, has not incarnated itself fully in love. No matter how high the ideal, or how great the preaching, the true test of the power of the gospel to affect our lives is in the “bottom line” of what we have created into the world through love.” (62)
Where does that take your imagination?
Plumbing Theology - The book critiques what Mako names “plumbing theology.” What is plumbing theology and can you summarize what he proposes as a better alternative?
Spaces for Sanctified Imagination - “We need every practitioner, curator, and cultural institution to create a safe place for artists to experiment and grow in this sanctified imagination. This can start within churches, but I advocate for a general cultural practice that also works outside of church walls.” (48)
What ideas do you have for creating these kinds of spaces for artists to grow in sanctified imagination?
Co-Creation - “By asking Adam to name the animals, God commissions him to use his creativity. In this word “commission” we find co-mission, as well; God is inviting Adam to exercise his ability to co-create in Eden.” (96)
Can you see yourself as a co-creator with God in the way Mako describes?
Mary, Martha, Lazarus, and Christ’s Tears - The book spends a lot of time reflecting on Jesus’ relationship with Mary, Martha and Lazarus. What stood out to you from those reflections?
Engaging Art- Mako says in the work of Rothko and T.S. Eliot: “I am finding a “holy ground” that allows me to journey into my faith, my doubts, and my awareness of suffering.” (125) It’s insightful to see how he engages other artists’ work. Does this provide any inspiration for how you want to engage artist’s work?
Moving Outward - “The New reverses the spin; instead of being drawn to the Temple, to the mercy seat, to worship, we are sent out into the world to share the feast with outsiders, migrants, and the poor. Instead of the songs of ascent as we climb toward Jerusalem, we will carry the tears of Christ and sing songs of descent beyond the sea.” (139)
What ways do you want to move out into the world by making?Consider ending discussion the way the book ends, by reading A BENEDICTION FOR MAKERS:
“Let us remember that we are sons and daughters of God, the only true Artist of the Kingdom of abundance. We are God’s heirs, princesses and princes of this infinite land beyond the sea, where heaven will kiss the earth. May we steward well what the Creator King has given us, and accept God’s invitation to sanctify our imagination and creativity, even as we labor hard on this side of eternity. May our art, what we make, be multiplied into the New Creation. May our poems, music, and dance be acceptable offerings for the cosmic wedding to come. May our sandcastles, created in faith, be turned into permanent grand mansions in which we will celebrate the great banquet of the table. Let us come and eat and drink at the supper of the Lamb now so that we might be empowered by this meal to go into the world to create and to make, and return to share what we have learned on this journey toward the New.”