1.Several years ago, right at the beginning of the new Millennium, the so-called Millennium Cross was installed on the top of Vodno - the hill nearest to the city of Skopje – "to be seen from all over Macedonia", as some used to say! Politically it looked as an act of reconciliation between the state and the church - although it was not! For some people it looked like God finally came to Macedonia - which was also false believe. For the people from other then Christian religions it was an open act of intolerance and xenophobia, of religious violence and symbolic declaration of our negligence for the others!
Several years after the installation of the Millennium Cross another most intriguing religious-oriented public debate took place in Macedonia. Its topic was the dilemma whether to introduce classes of religious education in primary schools or not. Or, if you want - whether to introduce the religion into our lives or not! And once again the "religious question" was mercilessly politicized and brought directly into the Parliament for politicians to decide upon.
And for months this "problem" was in the public focus, but not as an educational or even more cultural matter but as a political one! Which, maybe, is not too strange, since we on the Balkans can make politics out of everything. Although the proposal was related to voluntary religious education, it was considered negative by a surprisingly great percentage of the high-educated population and intellectuals. Like it was the end of the (free) world, like we were going to lose something special, or our beloved and not forgotten old system would finally and irretrievably collapse.
On the one hand, having in mind that for more then fifty years we lived under an atheist regime where religion was not welcomed even in the churches, it is understandable that the politicians - especially older ones - were really shocked by the idea of having religious education in schools. But, on the other hand, it was also shocking to see and listen to young people, intellectuals, even eminent people from the educational and cultural field, talking nonsense in the old fashioned socialistic way. Some of them still find the religion "opium for the masses"!
Of course, the question of religious education - like many other things - has never been a topic for serious discussion among scholars in the Macedonian recent past. If it was then it was in a strictly ideological terms and purposes. That is why we do not really know to separate religion from religious education, church from religious education etc. The principle of secularity and the division between the state and the church has separated the things that much that we have forgotten that religion is one of the fundamental pillars of the civilization. We still consider religious matters as political matters! So when we say that education and culture have long been considered of secondary importance, it is not just a mere statement – it is a fact. We still think in the old one-track-minded way allowing the ideology frames to decide about crucial educational and cultural questions!
2.
One recent Dutch contemporary art exhibition* in the National Gallery of Macedonia was only a motive for this text. Otherwise, there are too many examples how unprepared, how "illiterate" and ignorant we are when it comes to religious matters. As a matter of fact each day we find ourselves in a world of significant messages that we do not understand. So let's for a moment consider art as our guide to the world that is still for us to explore!
Nearly half of the artworks presented on the previous mentioned Dutch exhibition were - in one way or another, explicit or a little bit hidden - connected with the religious themes and meanings. And it was really embarrassing to see that most of the public simply did not understand what it is about, what the works represented or what was the artist's point of view. People looked curiously but a little bit confused, they asked questions trying to understand certain point ...
they knew there was "something" beyond the mere artworks, but ... So, in a broader context, a great exhibition became a hermetic one, almost incomprehensible for most of the audience! Simply because we forgot about the educational / cultural gap between Europe and Macedonia when it comes to religious matters.
For example: it takes serious religious knowledge to make the distinction between the Calvinism in the North and Catholicism in the South of Netherlands and how it reflects on the moral frontiers and on certain art thinking; or what the real difference between the Protestants and Catholics is; or what the idea of Life as Punishment means and how "to read" it in an art work (Gijs Assman); or what story lies behind the two simple words Ecce homo (Benoit Hermans) ... etc! Or how to recognize in an artwork (Famke van Wijk) the meaning of the "Christian symbol of water in which in all innocence you wash your hands and blood that was shed to absolve you of your sins"[1]?
And it is not only with this exhibition that we have a "communication" problem! As a matter of
fact nearly the same problem of 
incomprehensiveness or even serious misunderstanding occurs with some sophisticated religious-oriented, or religious focused works of Macedonian or international artists. We simply do not know what to think of it - how to "read" the work, how to deal with its "story"! Actually, every day we are literary bombed with images and words that we do not understand. But we look without knowing what we are looking at, we read but we don't know what we are reading about! And the same issue goes on and on.
One recent Dutch contemporary art exhibition* in the National Gallery of Macedonia was only a motive for this text. Otherwise, there are too many examples how unprepared, how "illiterate" and ignorant we are when it comes to religious matters. As a matter of fact each day we find ourselves in a world of significant messages that we do not understand. So let's for a moment consider art as our guide to the world that is still for us to explore!
Nearly half of the artworks presented on the previous mentioned Dutch exhibition were - in one way or another, explicit or a little bit hidden - connected with the religious themes and meanings. And it was really embarrassing to see that most of the public simply did not understand what it is about, what the works represented or what was the artist's point of view. People looked curiously but a little bit confused, they asked questions trying to understand certain point ...
they knew there was "something" beyond the mere artworks, but ... So, in a broader context, a great exhibition became a hermetic one, almost incomprehensible for most of the audience! Simply because we forgot about the educational / cultural gap between Europe and Macedonia when it comes to religious matters.For example: it takes serious religious knowledge to make the distinction between the Calvinism in the North and Catholicism in the South of Netherlands and how it reflects on the moral frontiers and on certain art thinking; or what the real difference between the Protestants and Catholics is; or what the idea of Life as Punishment means and how "to read" it in an art work (Gijs Assman); or what story lies behind the two simple words Ecce homo (Benoit Hermans) ... etc! Or how to recognize in an artwork (Famke van Wijk) the meaning of the "Christian symbol of water in which in all innocence you wash your hands and blood that was shed to absolve you of your sins"[1]?
And it is not only with this exhibition that we have a "communication" problem! As a matter of
fact nearly the same problem of 
incomprehensiveness or even serious misunderstanding occurs with some sophisticated religious-oriented, or religious focused works of Macedonian or international artists. We simply do not know what to think of it - how to "read" the work, how to deal with its "story"! Actually, every day we are literary bombed with images and words that we do not understand. But we look without knowing what we are looking at, we read but we don't know what we are reading about! And the same issue goes on and on. 3.
But it is not the problem only with the contemporary art. As a matter of fact, contemporary art is only the top of the hill. The problem starts far in the foothill!
For example: when we stand in front of an artwork showing the Crucifixion, what do we see - just a man on cross? When we look at Grunewald's (1480-1530) The Crucifixion from the XVI century, do we understand the meaning of the work, do we comply with the artist's deep feelings about that scene? This work is genuinely religious in many respects, and so is the artist. But, it is everything but a realistic view of the crucifixion! Do we know who are the people around the cross, why the proportion of their figures is as it is, what is the meaning of the objects aside the cross? Can we really understand that the scene "points to the ultimate mystery of that death in which death itself was swallowed up in victory"[2]!
And if we move a little bit closer to our days we may come across El Greco (1541-1614) and his religious art. And if we do not know that he worked "in the era of the Counter-Reformation in Spain, with its desperate battle against the inroads of Protestantism and the Secularism of the High Renaissance"[3], then how do we expect to understand his paintings? It is also important to know that most of his paintings are vertical - a quality that comes from his utmost mystic desire to be unified with God, to be closer to him as much as he can.
Almost everybody will tell you that Rembrandt (1606-1669) unquestionably is one of the greatest painters in the world but very few know that he was also a great believer, very religious man. His art has deep religious insight and his profound studies of the Bible showed noticeable change in his style. The "Biblical humanism" that characterizes his mature work is especially evident in the painting Jacob Blessing the Sons of Joseph, painted in 1656. It is "strikingly simple" but extraordinary painting, calm but deeply moving - one of the many masterpieces where the
religious feelings are so subtle, so humanly balanced. But, on the other hand, if we do not know who Jacob and Joseph were and what actually is happening on the painting, then Rembrandts "Biblical humanism" and the significance of his religious message simply miss the point.
4.
So, we all know that art often tends to confront the viewer with some unsuspected things (or qualities) in themselves, some things they never supposed they possessed. Especially religious art confronts the viewer with simple but meaningful stories, stories with sharp human and moral point or sometimes hidden between the lines; religious art often speaks in ciphers and codes, it offers unusual situations and sometimes phantasmagorical solutions; religious art likes "to play" with strange objects and things with double or even triple meaning! It is a whole new world to explore, but only if we have the key to open it. Otherwise we become "lost in translation"!
And this time we talk only about Christian religion. But what if, for example, we find ourselves in front of a Tibetan mandala, or some Islamic iconography?
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If we do not know that the arabesque, an aspect of Islamic art usually found decorating the walls of mosques, is based upon the Islamic view of the world, then what do we see? Just forms - floral or ornamental - put together? But to Muslims these forms, taken together, constitute an infinite pattern that extends beyond the visible material world. To many in the Islamic world, they in fact symbolize the infinite, and therefore uncentralized nature of the creation of the one God (Allah). Islamic art is centered usually on Allah, and since Allah cannot be represented by imagery ("All you believe him to be, he is not"), geometric patterns are used.
On the other hand, instead of recalling something related to the reality of the spoken word, calligraphy for the Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam.
But, if we do not know all this things, what are we going to do facing this kind of art - simply turn our head away?
5.
So, since we are talking about Europe, religion and religious art are part of the enduring heritage of the West. And when we think about nowadays process of European integration - about education, culture and art as important parts of this integration - we should also consider religious matters with the same seriousness as the political, economic and other integration. Because religion / religious matters are subtle incorporated in the very essence of every day's life of European people. Especially in art! And if we undermine or don't understand that, then we do not understand the European way of life. And then we have a communication problem and communication problems often lead to all other problems!
So, sometimes, the so-called "clash of civilizations" can come not necessarily from outside but from within! We, of course, have to deal with it. The process of European integration will change for better – and it is changing – but it will take time, knowledge and efforts. And still there are no guaranties that things will come in the right place. It is because the key reforms of the system – especially the reforms in the field of culture and education – are being "prepared" by marginal and often semi literal people and self-called experts! People who think only in political terms and ideological frames, having in mind only narrow party or personal interest. What we need is a complete, thorough, systematic reconstruction of the fundamental values through the educational process and art and culture. And the first thing to begin with is the religious education! Because it will not only improve and deepen our knowledge and understanding but it will hopefully re-arise certain moral values and give new meaning to our way of life.
But it is not the problem only with the contemporary art. As a matter of fact, contemporary art is only the top of the hill. The problem starts far in the foothill!
For example: when we stand in front of an artwork showing the Crucifixion, what do we see - just a man on cross? When we look at Grunewald's (1480-1530) The Crucifixion from the XVI century, do we understand the meaning of the work, do we comply with the artist's deep feelings about that scene? This work is genuinely religious in many respects, and so is the artist. But, it is everything but a realistic view of the crucifixion! Do we know who are the people around the cross, why the proportion of their figures is as it is, what is the meaning of the objects aside the cross? Can we really understand that the scene "points to the ultimate mystery of that death in which death itself was swallowed up in victory"[2]!
And if we move a little bit closer to our days we may come across El Greco (1541-1614) and his religious art. And if we do not know that he worked "in the era of the Counter-Reformation in Spain, with its desperate battle against the inroads of Protestantism and the Secularism of the High Renaissance"[3], then how do we expect to understand his paintings? It is also important to know that most of his paintings are vertical - a quality that comes from his utmost mystic desire to be unified with God, to be closer to him as much as he can.Almost everybody will tell you that Rembrandt (1606-1669) unquestionably is one of the greatest painters in the world but very few know that he was also a great believer, very religious man. His art has deep religious insight and his profound studies of the Bible showed noticeable change in his style. The "Biblical humanism" that characterizes his mature work is especially evident in the painting Jacob Blessing the Sons of Joseph, painted in 1656. It is "strikingly simple" but extraordinary painting, calm but deeply moving - one of the many masterpieces where the
religious feelings are so subtle, so humanly balanced. But, on the other hand, if we do not know who Jacob and Joseph were and what actually is happening on the painting, then Rembrandts "Biblical humanism" and the significance of his religious message simply miss the point.4.
So, we all know that art often tends to confront the viewer with some unsuspected things (or qualities) in themselves, some things they never supposed they possessed. Especially religious art confronts the viewer with simple but meaningful stories, stories with sharp human and moral point or sometimes hidden between the lines; religious art often speaks in ciphers and codes, it offers unusual situations and sometimes phantasmagorical solutions; religious art likes "to play" with strange objects and things with double or even triple meaning! It is a whole new world to explore, but only if we have the key to open it. Otherwise we become "lost in translation"!
And this time we talk only about Christian religion. But what if, for example, we find ourselves in front of a Tibetan mandala, or some Islamic iconography?
.gif)
If we do not know that the arabesque, an aspect of Islamic art usually found decorating the walls of mosques, is based upon the Islamic view of the world, then what do we see? Just forms - floral or ornamental - put together? But to Muslims these forms, taken together, constitute an infinite pattern that extends beyond the visible material world. To many in the Islamic world, they in fact symbolize the infinite, and therefore uncentralized nature of the creation of the one God (Allah). Islamic art is centered usually on Allah, and since Allah cannot be represented by imagery ("All you believe him to be, he is not"), geometric patterns are used.On the other hand, instead of recalling something related to the reality of the spoken word, calligraphy for the Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam.
But, if we do not know all this things, what are we going to do facing this kind of art - simply turn our head away?
5.
So, since we are talking about Europe, religion and religious art are part of the enduring heritage of the West. And when we think about nowadays process of European integration - about education, culture and art as important parts of this integration - we should also consider religious matters with the same seriousness as the political, economic and other integration. Because religion / religious matters are subtle incorporated in the very essence of every day's life of European people. Especially in art! And if we undermine or don't understand that, then we do not understand the European way of life. And then we have a communication problem and communication problems often lead to all other problems!
So, sometimes, the so-called "clash of civilizations" can come not necessarily from outside but from within! We, of course, have to deal with it. The process of European integration will change for better – and it is changing – but it will take time, knowledge and efforts. And still there are no guaranties that things will come in the right place. It is because the key reforms of the system – especially the reforms in the field of culture and education – are being "prepared" by marginal and often semi literal people and self-called experts! People who think only in political terms and ideological frames, having in mind only narrow party or personal interest. What we need is a complete, thorough, systematic reconstruction of the fundamental values through the educational process and art and culture. And the first thing to begin with is the religious education! Because it will not only improve and deepen our knowledge and understanding but it will hopefully re-arise certain moral values and give new meaning to our way of life.
Notes
* Songs of Innocence and Aggression, 2007, (curated by Thom Puckey)
[1] Alex DE VRIES, Songs of Innocence and Aggression: don't look away (text in catalogue)
* Songs of Innocence and Aggression, 2007, (curated by Thom Puckey)
[1] Alex DE VRIES, Songs of Innocence and Aggression: don't look away (text in catalogue)
[3] Ibid
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