This essay begins with a discussion of religion and the inscriptional origins of the notion of a sacred-profane border (the lapis niger in pre-republican Rome) before turning to a particular image of the Egyptian Pharaoh Khafra (ca 2450 BCE) in which his political agenda is furthered by the interweaving of religion and art. Following, by way of brief descriptive references of five key works of art in the Greek, Roman, medieval, and renaissance worlds—the Anavysos Kouros, Polyklitos’ Doryphoros, the Augustus of Prima Porta, a thirteenth-century Byzantine Virgin and Child, and Raphael's Tempi Madonna—the discussion will turn to modernity, by way of the shifting concepts of sacred-profane, process-product, and Jewish-Christian boundaries in works like Monet's series of paintings of the Rouen Cathedral and Barnett Newman's The Name II. The discussion will culminate with reference to the work of three contemporary artists, Mako Fujimura, Asim Abu-Shakra, and Siona Benjamin. Each of these painters transgresses religious and/or cultural and/or ethnic and/or political and visual borders simultaneously; the work of Benjamin, in particular, is intended to eradicate traditional borders with new art, literally, of re-imagined transnational, transcultural, interfaith realities with, as its purpose, the repair of a world very much fractured by its traditional sense of borders and boundaries that separate diverse groups of human beings from each other in their own self-conceptions.
Religion, art, politics, Egypt, Greece, Byzantine, Renaissance, Impressionism, Holocaust, Monet, Barnett Newman, Siona Benjamin, Krishna, Fixing the World, Japanese screens, triptych form.
I. Religio, sacer, and profanes
One might begin this narrative by considering the ultimate boundary within human understanding, that between divinity and humanity. Religion's purpose is to transgress this boundary under careful conditions. While English refers to the two realms separated by this boundary as “sacred” and “profane” we may understand boundary, realms, and religion more clearly by reference to the Latin antecedents of all three terms (sacer, profanus, and religio) and specifically, the inscription in which the term sacer first appears.
The root of the Latin word religio—“-lig-”—means a “binding.” Religio binds a community to (its sense of) divinity. More precisely, “re-” means “back” or “again,” so religion binds a community back again to that which created it. (The “-io suffix” indicates that the term is, grammatically speaking, a feminine noun.) That creative source is the sacer.