The longer I live the more annoying I find the maintenance of the fairly rigorous distinction between two traditions of philosophy – Eastern and Western. This can be defended as a necessary specialisation – as though ‘world philosophy’ would be just too much for any one brain to comprehend. But the more I think about it the more it seems like an ideology, a deliberate dualism to go with those rightly exposed and criticised by some feminists and some readers of Foucault. The West is active, the East passive, the West emotional, the East inscrutible, the West masculine, the East feminine and so on. Do we really need this distinction between East and West? What is it for? Who does it benefit? Continue reading “How to Combine Eastern and Western Philosophy”
The last few years have seen a deep questioning of the central tenets of the theory of secularisation. Far from growing less religious, as the prophets of the post-war period supposed to be our destiny, the world has become more infused with religious attitudes than ever. It is now intellectually respectable, if not yet fully intelligible, to talk and write about a ‘post-secular’ age. At the same time it is possible to re-examine the high points of the supposedly nonreligious era we have now passed beyond, and see it anew as the site and source of an intense and distinctive spirituality. It is strange for an art collection like the Methodist Church’s Collection of Modern Christian Art to have almost no abstract works in the collection, as though properly religious art could only ever be representational. Yet until recently abstract art was regarded by many religious people as at the vanguard of a world without form, without meaning, and – ultimately – without God. If non-representational art was somehow non-traditional then it was also, so it was feared, non-religious. It is possible now, however to reappraise this view.
In the late 1960’s and early 1970’s Patrick Heron produced a large number of canvases and silkscreen prints on paper, based on bright, interlocking abstract shapes. As though to forestall the possibility of overlooking the artist’s obsession with colour, they had titles such as ‘Blue and deep violet with orange brown and green’.
The following reflections were inspired by a screenprint of Patrick Heron’s at the Tate, which is typical of his work at that time. Perhaps to emphasise its abstract qualities it is titled January 1973:14.