by Ludwig Tuman
Note for
this Excerpt: The following is a summary of the
essential, primary features of the nature and practice
of art, as the author understands them to be given or
implied in the Bahá'í teachings. It refers to all
the arts collectively, from poetry, painting, music
and drama -- to architecture, urban design and
clothing design -- to calligraphy, pottery, beadwork
and rug-weaving. Written with the general public as
well the Bahá'í community in mind, it is humbly
offered in the hope it may serve as a point of
departure for consultation, and may help to lead
eventually to a consensus.
TOWARD A SPIRITUAL, WORLD-EMBRACING PERSPECTIVE
ON ART
I. The Nature and Powers of Art
Of all the gifts a bountiful Creator has bestowed
on the human soul, the capacity to create through the
arts is one of the most stirring and rewarding.
Artistic creation is a human reflection of one of the
names of God, the Fashioner.2
It takes its place alongside the many divine
attributes reflected in the soul, which together endow
humanity with powers that remind us we are created in
the image of God.
All human activity is creative in one way or
another. One of the distinguishing features of
artistic creation is that it gives rise to a work
which serves to communicate between the artist and
others. Art works communicate in many ways and on many
levels. Whether or not artists consciously intend to
do so, their works manifest and convey beliefs,
values, perceptions, attitudes and feelings, which
together constitute the artist's vision of life. This
accounts for the tremendous influence art can have
upon the public.
Though the different kinds of art vary widely in
their mediums and their ways of acting, what they have
in common is their ability to affect the human spirit.
The world of spirit is the common domain of all art
forms. A work of art, then, is best appreciated in the
light of its intended effect on the spiritual life of
the receiving public. If the work is in a design art
(such as architecture) or a craft (such as carpet
weaving), it is best appreciated in terms of its
intended effect on both the spiritual and the
worldly/material life of the public.
The arts play a variety of roles in society,
ranging from light entertainment to emotional and
physical therapy. In their highest role, however, the
arts seek to promote spiritual growth by ennobling and
uplifting the individual soul and the collective life
of humanity. It is in this role that they fulfill most
completely the basic mandate given to all arts and
sciences: to worship and glorify God, to become
"a means of access" to God, to "result
in advantage to man," "ensure his progress
and elevate his rank." 3
This role has three main facets -- mystical, moral,
and social. Some art forms lend themselves more to one
facet than to the others. And some, such as music,
lend themselves to all three. The principal aims and
highest aspirations of the arts may be described as
follows:
-- On a mystical plane, to impart spiritual
knowledge, attract the souls to the beauty of the
All-Glorious, and fan the flame of divine love;4
-- On a moral plane, to "represent and inspire
the noblest sentiments and highest aspirations",
foster a desire for moral excellence and obedience to
the divine teachings, and "be a source of comfort
and tranquillity for troubled souls"; 5
-- On a social plane, to promote social well-being,
foster world unity, and raise the consciousness of
humanity's oneness.6
Moreover, art can promote the formation of
praiseworthy character. It can disseminate the
fragrance of divine teachings. Through its unifying
influence, it can strengthen the bonds of harmony and
fellowship, and can reinforce throughout the world the
sense of common identity shared by the human family.
Art can stir yearning for the Kingdom, strengthen
faith in God, help instill fear of His justice and
hope for His mercy.7 It
can galvanize the will to act, to obey His
commandments and live in harmony with His teachings,
which are the source of our spiritual growth. In so
doing, art assists us to attain the very purpose of
our existence: to know, to love, and to worship God.8
All this is implied in its role of ennoblement.
Each profession in society renders a service that
benefits a particular aspect of human life. The farmer
and the doctor, for example, seek to benefit the human
body – the one by providing food and the other by
healing. Artists who are spiritually aware address
their work directly to the human soul, for that is
where art finds its true theater of action. The
sights, sounds, words, gestures and forms of an art
work are picked up by the senses and transmitted via
the nervous system to the soul.9
The soul uses the brain as a tool to perceive and
evaluate the art work's cognitive and emotional
content. But it is in the soul that the art work is
truly experienced and registers its impact.10
Art, then, can have a transforming effect on both
the person who creates or performs it, and the public
who receives and interacts with it. In its highest
expression, art's spiritual power can, and should, be
employed to promote the world's unity and peace,
society's spiritual health, and the individual's
personal growth. No longer dismissed as a mere
recreation and pastime, art should be recognized as
one of the most powerful tools for the education and
development of humanity. Having such a wide range of
potential benefits, the arts should be integrated into
the very core of the curriculum for primary and
secondary education -- both public and private,
nationwide and worldwide.
II. Religion and Art
The essence and common foundation of religion is a
body of spiritual and moral teachings revealed by the
Messengers of God, the founders of the world's major
religions.11 Throughout
history, and in all known civilizations, art has been
intimately tied to this body of spiritual and moral
teachings. The reason for the intimacy is that art,
when quickened by a divine spirit, reflects the
creative process set into motion by the Word of God.
Art then attempts, in its humble way, to reinforce the
spiritual and social handiwork of the Almighty. The
bond between art and religion is natural, vital, and
timeless.12 In its
highest role, art becomes a handmaiden of divine
truth.
We need to distinguish, though, between religion
and religious community.13
Religion is a body of divine teachings revealed by
God. The community is simply a body of people who
attempt to practice the teachings. The bond between
artist and religion is different from the bond between
artist and community. Religion provides a world view
and a vision of life that envelops, guides, and
motivates all arts and sciences. It is at the heart of
the role of artists to turn to this divine vision of
life and aspire to reflect its beauty in their work.
But they are not similarly obligated to the religious
community. The community should not expect the
artist's work to be limited by its devotional tastes.
In their service to humanity, artists are, on the
whole, free to embody their Faith's teachings in their
own way.
As a result, spirituality will be present in any
art work that reflects a world view inspired by divine
teachings. To be considered spiritual or religious, a
work of art does not need to make explicit references
to a religion. Nor does it need to have a specifically
religious use. Artists may choose to manifest their
beliefs directly or indirectly, openly or by
implication. Both ways are legitimate, and under the
right circumstances, they can be equally appropriate
and effective.
III. The Scope of Art
Our time has been called "the century of
light" and the dawning of the "Cycle of
Glory." Humanity's consciousness is spreading to
take in the whole earth, and the oneness of the human
family is gradually establishing itself in people's
minds and hearts. It is a time for traditional
rivalries, discords, prejudices and parochial
interests to be left behind. It is a time for the
spirit of all-inclusive love, respect, and unity to
animate every field of service.
In the sphere of the arts, this new spirit calls
for us to abandon all customary attitudes, concepts,
and terms that have tended to provoke personal
rivalries, to exalt one art form, one creative
approach, or one culture over the others. It calls for
us to set all cultures and art forms on an equal
footing. And it calls for us to redefine traditional
categories in spiritual terms, with enough breadth to
take in the world's wonderful diversity.
Range of Art Forms. Art forms may be divided into
two major groups. The two have equal validity, rank,
and dignity.14 The group
that addresses itself to the human spirit, on the one
hand, includes the arts referred to in the Occident as
"fine arts," as well as other, similar art
forms. On the other hand, the group that addresses
itself simultaneously to the human spirit and to human
needs on a worldly plane includes design arts and
crafts.
The terms currently used to refer to these two
major groups are problematic because they reflect the
social biases of earlier centuries. (Painting, in the
West, is a "fine," "elegant,” and
"major" art. Rug-weaving and pottery have
been called "utilitarian" and
"minor" arts.) Moreover, traditional
terminology fails to acknowledge the spiritual nature
of the arts concerned. So it is proposed to use the
recent term, "seraffic arts," for the first
group, and "seraffo-donnic arts" for the
second. 15
"Seraffic" refers exclusively to arts
whose primary aim is to foster spiritual ennoblement,
and which operate by yielding a product (such as a
poem, a song, a painting); this product serves as a
kind of communication in which the attractive power of
spiritual attributes is manifested, thereby drawing
the participant into a process of discovery and
growth. The seraffic arts include poetry, painting,
music, drama, dance, puppetry, film, sculpture,
photography, wall mosaics, hung tapestry, and others.
"Seraffo-donnic" refers to any art which
operates simultaneously on a spiritual and a
material/worldly plane. That is, art which involves
the making of goods addressed equally to humanity's
spiritual life and to its material, intellectual, or
social needs on a worldly level. The seraffo-donnic
arts include the crafts (such as calligraphy, jewelry,
rug-weaving, pottery) and the design arts (such as
urban design, architecture, interior design, garden
and landscape, dress design, and industrial design).
When both groups of art – seraffic and
seraffo-donnic – are taken into account, we see that
the term "artist" implies a very wide range
of practitioners.
Range of Approaches and Styles. It is important to
acknowledge that a wide variety of art styles and
approaches to artistic creation also share equal
validity. One kind of variety is produced by the range
of styles reflecting the different cultures of the
world, which can be called "Geographical
Diversity."
Another kind embraces classical art, folk art,
traditional forms, and contemporary approaches – a
range we can collectively refer to as "Historical
Diversity." Proponents of classical and
traditional art styles emphasize the value of
approaches and methods that have passed the test of
time. Proponents of contemporary art often emphasize
the need for discovery and innovation, for personal
expression unrestrained by traditions. In a balanced,
world-embracing perspective, we can recognize the
merits of both without disparaging either one.
Yet another kind of variety of styles stems from
the uses of art in venues ranging from solemn to
light, from reverential to entertaining. This can be
called "Usage Diversity." Again, the full
range is valid and to be respected.
One of the hallmarks of the new age that
civilization is entering is the shift toward a more
inclusive, world-embracing attitude on the part of
both artist and public. Artists throughout the world
have the right to adopt any style or approach to
artistic creation, without fear of criticism for being
either too outmoded or too innovative, and without the
crippling humiliation of representing a supposedly
"backward" and "inferior" culture.
Indeed, there is now a growing tendency for artists
to regard the entire world, past and present, as their
cultural inheritance. This leads them to feel free to
draw on the heritage of more than one culture or time
period, to work in more than one style, and to shift
at will from one to another. In the past this
multifaceted approach has been branded with the rather
disparaging term, "eclectic." Today, it
should be recognized as a normal feature of creative
work in a multicultural world, and would be more
appropriately called "the Global Approach."
Rights of Individuals. Historically, and worldwide,
women and artists representing minority cultures have
had limited access to the infrastructure of artistic
promotion, in comparison with men and with artists
representing a majority culture. As a result,
civilization as a whole has been deprived of the
enormous contribution they might have made. To correct
this wrong, prejudices toward women and minority
artists need to be overcome so they can gain full
access to systems of artistic education, production,
publicity, distribution, and remuneration.
IV. The Practice of Art
The Artist's Role. The Bahá'í teachings call on
every individual, in relation to society, to strive to
be "a source of social good", "a cause
of peace and well-being, of happiness and
advantage". They exhort the individual "so
to live and act as to enrich and illuminate the
world".16 This
applies to artists as much as other individuals. In
their response to this call, the highest objective to
which artists may aspire is to render a spiritual
service, which consists in seeking to help ennoble the
human soul through their creations. The works that
artists offer to humanity are a kind of communication
that manifests spiritual attributes. By the beauty of
these attributes the soul is attracted and stirred,
the knowledge of divine realities is imparted,
attitudes to life are spiritualized, morality is
strengthened, and service is rendered to the cause of
spiritual growth.
In the highest form of service, then, the artist
may be regarded as one who inspires love for the
beauty of the All-Glorious; a reinforcer of the divine
handiwork; a spiritual educator; an exponent of a
divine vision of life; an agent of spiritual, moral,
and social well-being; a promoter of the oneness of
humankind and of world unity.
Spiritual Responsibility. Any vocation that can
exercise such wide-ranging, far-reaching effects on
the quality of society's life inevitably carries
certain responsibilities. Since the effect of art is
mainly spiritual, the nature of the artist's
responsibility, too, is spiritual. And it is weighty.
The artist can exert an influence, for better or for
worse, on the development of the soul itself; an
influence that can aid us to draw nearer to our
Creator and in that measure assist us to fulfill the
very purpose of our existence. The responsibility
looms even larger when we consider that a single
artist's influence can be extended, through the mass
media and world communications, to touch the lives of
thousands and potentially even millions of people
around the world.
To whom are artists responsible? They are
responsible above all to God for the service they
aspire to render to humanity, as this is service to
the divine Kingdom and a form of worship. They are
also responsible to society, of which they form a
part, and to whose spiritual life their work is
addressed. If working for hire, they are, naturally,
responsible to the person or body who gives the
commission. And they may be responsible to a specific
institution if they are working on a project under its
auspices. Far from acting as ropes that bind and
restrict the freedom of artists, such responsibilities
are in reality the very arteries that connect them
with the tissues and organs of society, enabling them
to contribute, to receive, and to participate as a
cell in the collective life of the body of humanity.
What are artists responsible for? The spiritual
role outlined above appears to carry with it
responsibilities in several areas. First, artists
would seem to be responsible for continually enriching
their understanding of the Sacred Word. For how can
art realize its role of spiritual ennoblement and
upliftment unless artists draw their vision of life
from its ultimate Source? The more artists understand,
feel, and live the divine teachings, the better they
can serve as a channel for the bounty of the Holy
Spirit. The more the mirror of an artist's heart is
free of the dust of worldly attachments, and is turned
toward the Kingdom above, the better it can reflect in
his or her creations a celestial light.17
Second. Since all occupations should be regarded as
a form of service to humankind, artists are
responsible for viewing their vocation, too, as a kind
of service; and for seeking to practice it in ways
that would ennoble and enhance the spiritual life of
humanity.
Third. The nature of art's role appears to place
upon artists the responsibility of aspiring to make
their creative work a living example of divine
teachings and virtues. Only when an art work embodies
divine precepts and spiritual qualities can it produce
in the participant's soul an experience that would
tend toward ennoblement.
This may involve an open declaration of beliefs,
but it can be more effective when subtler, indirect
means are used. One of the distinctive features of art
is that it is able to attract, edify, and inspire the
soul by example (as distinguished from open
assertion), and this by embodying divine truths,
spiritual attributes, and their corresponding beauty
in forms that are metaphorical. In this connection we
should keep in mind that every aspect of art, even the
energy of a painter's brushstroke, can serve as a
spiritual metaphor.
Fourth. The experience which a work of art
engenders in a person’s soul depends on that person’s
sensibility, receptivity, judgement, and previous
experience. Artists cannot be held responsible, then,
for the variable experiences produced by their work in
the hearts of participants, for the experience is
heavily influenced by what the participants bring to
it from their own background.
However, artists are responsible for their attitude
to the public, and for the spiritual quality of the
experience that they hope and intend to produce within
the participant. Specifically, the responsibility of
artists is to take care that the beliefs, values,
attitudes and emotions that are manifested in their
art, on the one hand, and those they intend to
stimulate and reinforce in the participant, on the
other, vibrate in harmony with the divine teachings.
This is the best artists can do to make it likely that
the experience their work engenders in the soul of the
participant will have an ennobling effect.
This responsibility does not interfere with freedom
of expression. Though it calls on artists to be guided
by the divine teachings and to embody the same in
their work, they are free to achieve that embodiment
in their own way. Under such conditions, the artist's
vocation would involve both voluntary compliance to
spiritual ideals, and great latitude for
individualized artistic expression.
Knowing the Light by Darkness. When artists
voluntarily comply with spiritual ideals, the
resulting art works are not necessarily serene,
harmonious, delicate and blissful. They may be and
they may not be. There is room for pain, conflict,
discord and suffering in a spiritually inspired art.
It is legitimate for art to portray the workings of
humanity's darker and lower nature, provided the
latter is presented in its proper relation to
humanity's higher, spiritual nature. What is important
is not only the subject matter of an art work but the
way it is treated; not only its content but also, and
especially, the effect such content is intended to
have on the knowledge and the feelings of the
participant.
It is not enough for art to merely display the
workings of humanity's lower nature. If it is to be
edifying, the portrayal needs to be placed within a
spiritual context, within the framework of God's
purpose in creating humankind. For it is only against
such a framework that darkness can be perceived as the
lack of light, evil as the absence of good. Only
against such a framework can the viewers, listeners or
readers of a work of art measure their own potential
and be stimulated to grow spiritually. In other words,
if artists refer in their work to the darker as well
as the brighter side of human nature, they should try
to do so in such a way as to engender within the
participant's soul an experience that will aid him to
journey on "the road which leads to divine
knowledge and attainment."18
In an art work, if negative attributes such as
injustice and greed are presented in the light of
divine teachings, they will be recognized as but the
relative lack of the spiritual attributes of justice
and altruism. If beauty is regarded as a power of
attraction inherent in spiritual attributes, then it
is possible for art to be beautiful even when its
subject matter is superficially unappealing; to be
edifying even when its subject matter is apparently
base.
Artist and Community. The Bahá'í social ideal
guarantees that artists, as individuals, can serve
society without their initiative or creativity being
stifled. This ideal involves "a social system at
once progressive and peaceful, dynamic and harmonious,
a system giving free play to individual creativity and
initiative but based on co-operation and
reciprocity."19 The
attitude which such a relationship would call for on
the artist's part, then, is one of loving service to
the entire body of humankind.
Society and artists have mutual rights. We have, on
the one hand, the undoubted right of artists to
express themselves. On the other, we have society's
right to expect that the products of artists seek to
promote the moral, social, and spiritual well-being of
the public.20
The flowering of art in an emerging world community
depends not only on the dedicated efforts of artists,
but equally on society's support. This should not be
surprising. For any vocation to function well, society
needs to provide some kind of infrastructure.
Scientists rely on a vast web of government agencies,
companies, universities, laboratories, banks,
equipment manufacturers and others to bring a single
product to market. Similarly, the great achievements
of artists in past centuries were often facilitated by
a social and cultural infrastructure.
This infrastructure was composed of a network of
institutions and organizations, both public and
private, which educated artists, offered them a
coherent philosophy of art, sought their spiritual
services, commissioned their works, and provided the
means for public performance, distribution, and
remuneration. It is probably safe to say that for most
artists today, such a well-integrated infrastructure
is hard to find, when it exists at all. As its parts
are pieced together, and as the demand grows for the
spiritual services of artists, we will eventually see
a new Renaissance surpassing even the most inspiring
achievements of history.
References
1 “Art can better awaken…noble
sentiments than cold rationalizing, especially among
the mass of the people. We have to wait only a few
years to see how the spirit breathed by Bahá’u’lláh
will find expression in the work of the artists.”
From a letter on behalf of Shoghi Effendi to an
individual believer, 10 October 1932.
2 “Through the mere revelation of
the word ‘Fashioned,’ issuing forth from His lips
and proclaiming His attribute to mankind, such power
is released as can generate, through successive ages,
all the manifold arts which the hands of man can
produce.” Gleanings from the Writings of Bahá’u’lláh,
LXXIV, p. 141-2 (1952 ed.)
3 “Although to acquire the
sciences and arts is the greatest glory of mankind,
this is so only on condition that man’s river flow
into the mighty sea, and draw from God’s ancient
source His inspiration... ...By the one true God! If
learning be not a means of access to Him, the Most
Manifest, it is nothing but evident loss.”
Selections from the Writings of ‘Abdu’l-Bahá, p.
110.
“Of all the arts and sciences, set the children
to studying those which will result in advantage to
man, will ensure his progress and elevate his rank.”
Tablets of Bahá’u’lláh, p. 168.
4 An example of the service the
arts can render on the mystical plane is given in this
passage, where ‘Abdu’l-Bahá refers to music as a
means of helping to draw the souls toward the radiant
Source of divine love:
"Thank thou God that thou art instructed in
music and melody, singing with pleasant voice the
glorification and praise of the Eternal, the Living. I
pray to God that thou mayest employ this talent in
prayer and supplication, in order that the souls may
become quickened, the hearts may become attracted and
all may become inflamed with the fire of the love of
God." Bahá’í Writings on Music, p. 3.
5 As expressed by the Universal
House of Justice: “...music, art, and
literature...are to represent and inspire the noblest
sentiments and highest aspirations and should be a
source of comfort and tranquillity for troubled
souls...” Bahá’í World, Vol. 18, p. 358.
6 On this theme, Bahá’u’lláh
wrote: “The source of crafts, sciences and arts is
the power of reflection. Make ye every effort that out
of this ideal mine there may gleam forth such pearls
of wisdom and utterance as will promote the well-being
and harmony of all the kindreds of the earth.”
Tablets of Bahá’u’lláh, p. 72.
‘Abdu’l-Bahá, too, wrote that such powers
should be employed for the attainment of human unity:
“The truth is that God has endowed man with virtues,
powers and ideal faculties... How shall we utilize
these gifts and expend these bounties? By directing
our efforts toward the unification of the human race.
We must use these powers in establishing the oneness
of the world of humanity.” Foundations of World
Unity, p. 62 (1972 ed.)
7 “Therefore...set to music the
verses and the divine words so that they may be sung
with soul-stirring melody in the Assemblies and
gatherings and that the hearts of the listeners may
become tumultuous and rise towards the Kingdom of
Abhá in supplication and prayer.” ‘Abdu’l-Bahá,
in Bahá’í World Faith, p. 378.
8 “I bear witness, O my God, that
Thou hast created me to know Thee and to worship Thee.”
Bahá’u’lláh, Short Obligatory Prayer.
9 “In the world of existence
physical things have a connection with spiritual
realities. One of these things is the voice, which
connects itself with the spirit... A certain kind of
melody makes the spirit happy, another kind makes it
sad, another excites it to action. All these feelings
can be caused by voice and music, for through the
nerves it moves and stirs the spirit.” ‘Abdu’l-Bahá,
Bahá’í Writings on Music, p. 7.
10 “Now concerning mental
properties, they are in truth of the inherent
properties of the soul, even as the radiation of light
is the essential property of the sun.” ‘Abdu’l-Bahá,
Bahá’í World Faith, p. 337. See also His
explanation on the faculties of the soul, Paris Talks,
p. 86.
“If we are caused joy or pain by a friend, if a
love prove true or false, it is the soul that is
affected. If our dear ones are far from us -- it is
the soul that grieves, and the grief or trouble of the
soul may react on the body.” ‘Abdu’l-Bahá,
Paris Talks, p. 65
11 “Religion...is not a series
of beliefs, a set of customs; religion is the
teachings of the Lord God, teachings which constitute
the very life of humankind, which urge high thoughts
upon the mind, refine the character, and lay the
groundwork for man’s everlasting honour.” ‘Abdu’l-Bahá,
Selections from the Writings of ‘Abdu’l-Bahá, p.
52-3.
12 The intimate connection between
art and religion is revealed by ‘Abdu’l-Bahá: “I
rejoice to hear that thou takest pains with thine art,
for in this wonderful new age, art is worship. The
more thou strivest to perfect it, the closer wilt thou
come to God. What bestowal could be greater than this,
that one’s art should be even as the act of
worshipping the Lord? That is to say, when thy fingers
grasp the paint brush, it is as if thou wert at prayer
in the Temple.” Mirror of the Divine: Art in the
Bahá’í World Community, p. 45.
13 The Universal House of Justice
draws this distinction between religion and religious
community: “...true religion, far from being the
product solely of human striving after truth, is the
fruit of the creative Word of God which, with divine
power, transforms human thought and action. A Bahá’í,
through this faith in, this “conscious knowledge”
of, the reality of divine Revelation, can distinguish,
for instance, between Christianity, which is the
divine message given by Jesus of Nazareth, and the
development of Christendom, which is the history of
what men did with that message in subsequent
centuries... A Bahá’í scholar conscious of this
distinction will not make the mistake of regarding the
sayings and beliefs of certain Bahá’ís at any one
time as being the Bahá’í Faith. The Bahá’í
Faith is the Revelation of Bahá’u’lláh: His Own
Words as interpreted by ‘Abdu’l-Bahá and the
Guardian.” From “The Challenge and Promise of
Bahá’í Scholarship”, Bahá’í World, Vol. 17,
p. 195.
14 A memorandum from the Research
Department to the Universal House of Justice, included
in a letter from the House of Justice to an
individual, states: “In relation to the possible
hierarchical ranking among the different categories of
arts, the Research Department has, to date, been
unable to locate any clear evidence to support this
idea... With regard to the importance of the arts in
general, the Writings indicate that they all derive
their creative impulse from the operation of the Will
of God...” Given in Mirror of the Divine: Art in the
Bahá’í World Community, p. 276-7.
15 These two categories and their
terms follow the lead of ‘Abdu’l-Bahá, who
distinguished between vocations that are oriented more
toward the divine or worldly, material or spiritual:
“...In this new century the attainment of science,
arts and belles lettres, whether divine or worldly,
material or spiritual, is a matter which is acceptable
before God and a duty which is incumbent upon us to
accomplish.” Bahá’í World Faith, p. 377.
“Seraffic” is derived from two sources: one is
the Arabic word sarofa, one of whose meanings is to
ennoble, to elevate. Related to it is saraf, meaning
elevated place; nobility, eminence, dignity; honor.
The other source is the Hebrew word serafim: one of
the highest-ranking angels that guards God’s throne
(and in Christianity, angels of the highest and most
noble order); angels of knowledge and wisdom. “Donnic”
is derived from Arabic dunya, meaning world; life in
this world (as distinguished from the next); earthly
things or concerns. A “participant” is one who
views, listens to, reads, or in some other way
interacts with an art work.
16 ‘Abdu’l-Bahá, The Secret
of Divine Civilization, p. 2-3. ‘Abdu’l-Bahá,
Bahá’í Year Book, Vol. 1, p. 12.
17 Gleanings from the Writings of
Bahá’u’lláh, CXXVIII, p. 277. ‘Abdu’l-Bahá
described the creativity of artists as a reflection of
the Holy Spirit in the mirror of the artist’s mind:
"All Art is a gift of the Holy Spirit. When
this light shines through the mind of a musician, it
manifests itself in beautiful harmonies. Again,
shining through the mind of a poet, it is seen in fine
poetry and poetic prose. When the Light of the Sun of
Truth inspires the mind of a painter, he produces
marvellous pictures. These gifts are fulfilling their
highest purpose, when showing forth the praise of
God." (Quoted in The Chosen Highway, p. 167.)
18 “...Things are often known by
their opposites. Were it not for darkness, light could
not be sensed. Were it not for death, life could not
be known. If ignorance did not exist, knowledge would
not be a reality. Night and day must be in order that
each may be distinguished.” ‘Abdu’l-Bahá, The
Promulgation of Universal Peace, p. 82.
“Man must walk in many paths and be subjected to
various processes in his evolution upward. ... If evil
deeds were unknown, how could you commend good
actions? If sickness did not exist, how would you
understand health? ... Briefly, the journey of the
soul is necessary. The pathway of life is the road
which leads to divine knowledge and attainment.
Without training and guidance the soul could never
progress beyond the conditions of its lower nature,
which is ignorant and defective.” ‘Abdu’l-Bahá,
The Promulgation of Universal Peace, p. 295-6.
19 The Universal House of Justice,
The Promise of Universal Peace, p. 3.
20 See the Universal House of
Justice, Individual Rights and Freedoms in the World
Order of Bahá’u’lláh, 6th, 7th and 8th
paragraphs from the end.
