Abstract
When Makoto Fujimura was a child growing up in Boston, Sweden, and Japan, he remembers very early and vividly of his creative and painting abilities (pp. 1–2). These early experiences of “creative discovery” (p. 2) were sacred and mysterious to Fujimura, although he was not able to connect both to Christianity. It was not until later in his life that he was introduced to Christianity. It was then that the creativity, beauty, and, in a word, “making” (p. 2) became connected to the message of Christianity. The experiences and theological connections Fujimura make throughout the book resonates of the Olympic athlete and Christian missionary Eric Liddell, who said, “I believe God made me for a purpose, but He also made me fast. And when I run, I feel His pleasure.” When Fujimura describes the work of making, the theology of the new creation, being stewards of God’s creation, and the invitation of being co-creators with God, the pulse of “when I
When a person talks about Faith and Art, the subject can feel… squishy. Fujimura offers a framework for the importance of, as he calls it, “making” in the Christian community. “Making” is the reality that mankind are creators, it “uniquely defines our role in Creation. We are Imago Dei, created to be creative, and we are by nature creative makers” (p. 14). Although not written as a defense of the importance of art and imagination in the Christian faith, Fujimura writes in a compelling manner to articulate the value of art and artists in describing the experiences of the Christian faith. Artists provide insights and articulation in realms where presuppositional arguments or systematic theology cannot explore. By his own experience and admission, Fujimura has seen the Christian community lack serious consideration, even being suspicious of artistic or imaginative expression of Christian values and faith.
Fujimura wrote this book to fill a gap about the understanding and relationship of being a Christian with the process and act of creating (p. 2). He writes, “This is the most outrageous promise of the Bible, which is at the heart of the Theology of Making: not only are we restored, we are to partake in the co-creation of the New” (p. 46).
Fujimura is an accomplished poet, writer, and artist with exhibits around the world. He is the founder of IAmCultureCare, an online platform designed to encourage the cultivation of human flourishing by “deepening faith, mending brokenness, and growing beauty” (https://iamculturecare.com/
He does not distinguish his faith apart from his work as an artist but sees them as an integral relationship. His work in the art realm is not just a means of enhancement of his spiritual life, as some may believe the role of art to have in one’s faith, but rather a point of reference and an essential aspect of one’s faith. Another way of saying it is art + faith = “integrated realities” of the Christian life. This is important for ministry leaders. It would serve our ministry leaders to read, study and live with a growing imagination and faith which would expand their knowledge and perspective of God’s work, and our participation in that work.
Fujimura begins making his case for the necessity of artists in understanding and relaying the gospel message. Artists have the unique opportunity to “open new doors of theological illumination” (p. 4) through their work of reflecting, and, with an abundance of faith, through the Holy Spirit. He states later in the book the thesis of the Theology of Making is not about utility or personal self-expression but God’s presence with us, in our brokenness and frailty, and calls us to participate in future culture creation.
Fujimura describes Christians, our very lives, being new creations in Christ as being re-presented back to God. So much more for ministry leaders who engage in the high calling of leading God’s people. We imitate God when we use our imagination and creativity in life and work. Our imitation of God is a result of our being made in His image. Then, we participate with God by redeeming elements of our sin-stained world and lives. Artists have the unique ability to depict beauty and truth in a world of ugliness and sin.
After having established that human beings are created in the image of God which includes our imagination and creative intuitions, we then participate as Makers (pp. 96–97). Fujimura describes the value of every person’s creative intuition, by which we might experience God more fully. A challenge Americans have is that American culture emphasizes something must be useful to be valuable. In contrast, God creates out of an “abundance and exuberance” (p. 18) of love. A Theology of Making is an antidote to utilitarian pragmatism so prevalent in our culture. The Christian artist reveals God’s work in creation. The insight and beauty of the artistic practice becomes essential in understanding God’s truth by using different mediums and expressions to convey spiritual insight. A painting, poem, or sculpture can share details or bring to life a biblical truth and story. Fujimura points to the impact of T.S. Eliot’s Four Quartets on his own work and art.
The work and value of artistic expression in understanding God and cultivation toward a new creation is what Fujimura calls culture care. Artists have a particular insight into integrating beauty and knowledge into the world. When Christians stop making, then Christians become consumers. Although all Christians are makers, not all see or understand their participation as creators through their work, vocation, and hobbies. Fujimura describes the work of training or cultivating our imagination to be used by God. This is also an opportunity for ministry leaders as they interact and cultivate the imagination of others toward God. Fujimura rightly describes that the Christian’s creative intuition, once infused by the Holy Spirit, becomes effectual. This is the theology of the New Creation.
One crucial point to understand in Fujimura’s Theology of Making is the common language and perspective of what he calls “plumbing theology” (p. 29). Plumbing theology is the perspective that all the world is broken because of the Fall. In this perspective, all God does is fix the problem of the Fall. While this is in part true, Fujimura says plumbing theology does not go far enough: “But we do not know what purpose and what world we are being prepared for” (p. 30). Fujimura is concerned with Christians understanding that we are co-creators of the New Creation. We imitate God by engaging in the creative, restorative, and redemptive act of "making." It is in our philosophical nature to create. We should not limit the word "create" to just some artistic medium like painting, but, like Fujimura argues in his other book, Culture Care, Christians can create culture in their sphere of influence. Culture can be beautiful. This is another aspect that ministry leaders can provide positive influence. In an organization, ministry leaders can cultivate an awareness and dignity that the work by the people in the organization can have a lasting impact. All can “make” and participate in the New Creation. It takes ministry leaders to have such a vision to call others towards this purpose.
Christian artists will enjoy this book from start to finish. From elevating the importance of the art and faith community, to the descriptions of his art (both the mediums and process), there is much for the artistically inclined to appreciate. This book would serve our churches and communities well to consider the insight and perspective, if for no other reason than to have appreciation for those who experience God in different capacities. Fujimura makes the case, as he describes the artistic process and technique of Kintsugi (pp. 43–46). Kintsugi is a type of peace-making. It is the fusing together broken pieces with gold and lacquer by artisans, typically with tea bowls. Tea bowls of themselves are not precious but a tea bowl mended with gold and lacquer becomes more valuable. Fujimura, then, using Kintsugi as an illustration, asks the question of what our churches would look like if we did not try to “fix” people, but rather mend, or “love and behold them, contemplating the shapes that broken pieces can inspire” (p. 50).
The difficulty some may have with Fujimura’s articulation of the unique perspective that artists have comes from several descriptions throughout the book that raise the spiritual insight of artists above others. For example, he writes that, “Artists already live in the abundance of God. They see beyond the pipes. They hear the ‘music of the spheres’ and desire to respond; they see a vista beyond the world of gray utility; they desire to paint in color; they dance to a tune of the Maker who leads us beyond restoration into the New World to come” (p. 31). And “In other words, artists provide the deepest realm of knowing that is given to artists to cultivate… Art is fundamental to the human search for deeper understanding. Art, by extension of this reasoning, is fundamental to understanding the Bible” (p. 71). A gracious reading will appreciate this perspective. This book both encourages the artist and is valuable to ministry leaders leading in their sphere of influence.