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75 pages

English

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A Guide for Exploring the Horizons of Your Heart More people than ever find themselves unfulfilled by merely material abundance and prosperity. More people than ever find their hearts yearning for some kind of satisfaction beyond swiping right or going viral. This is because the human soul was made for more than video games, social media, SMS messages, and flashy distractions. This book, written with the warmth, sincerity, and clarity characteristic of Father Bartunek's many popular books, opens the door to a rediscovery of the spiritual landscape present in every human heart. Maybe you are spiritually restless yourself. Maybe you know others who are, and you want to connect with them better. In either case, this book is for you. It will take you where few dare to go through a fearless exploration of questions like these: Why does "spirituality" attract us, and what does that word really mean? What is the real difference between "spirituality" and "religion"? Aren't all religions basically the same? How is it possible to be "religious but not spiritual"? What are the implications of choosing to be "spiritual but not religious"? Does truth enrich or impoverish our spiritual life? Father Bartunek takes you on a tour of your own soul through his reflections on these themes and more, weaving together philosophy, natural theology, personal experiences, and analyses of selected works of art to make this a truly one-of-a-kind book. You won't read this book and move on. You will read this book and grow, and then you will want to dip back into it again and again, to keep on growing. It's a book for a lifetime.

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Catholic Church

Philosophie et théologie

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Publié par	TAN Books
Date de parution	13 octobre 2019
Nombre de lectures	0
EAN13	9781505113563
Langue	English

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Spiritual but not Religious
SPIRITUAL BUT NOT RELIGIOUS
The Search for Meaning in a Material World
John Bartunek, LC, SThD
TAN Books Charlotte, North Carolina
Spiritual but not Religious © 2019 John Bartunek
All rights reserved. With the exception of short excerpts used in critical review, no part of this work may be reproduced, transmitted, or stored in any form whatsoever without the prior written permission of the publisher.
Unless otherwise noted, Scripture quotations are from the Revised Standard Version of the Bible—Second Catholic Edition (Ignatius Edition), copyright © 2006 National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved.
Cover design by Caroline K. Green
Cover artwork by lisima and agsandrew/Shutterstock
Library of Congress Control Number: 2019930595
ISBN: 978-1-5051-1355-6
Published in the United States by
TAN Books
PO Box 410487
Charlotte, NC 28241
www.TANBooks.com
Printed in the United States of America
Contents
Introduction
1 What Do We Mean by Spiritual ?
2 What Do We Mean by Religious ?
3 Two Paintings, Two Loves
4 Aren’t All Religions the Same?
5 A Brief History of Religion
6 Spirituality and Politics: The Search for Community
7 Spirituality and Entertainment: The Search for a Happy Ending
8 Spirituality and Suffering: The Search for Safety and Healing
9 Spirituality and Truth: The Search for Enlightenment
10 Spirituality and Goodness: The Search for a Job Well Done
11 Spirituality and the Environment: The Search for Joy
12 Spirituality and the Incarnation: God’s Search for Us
Appendix
Color Plates
Introduction
I grew up in an atheist family. We weren’t militant atheists, but we never talked about God, prayed, or went to any kind of church. Well, I do remember going to a Christmas Eve service when I was four or five years old. And sometimes when I slept over at a friend’s house on a Saturday, I would tag along with his family when they went to church the next morning. But in my formative years, the realms of religion were an unknown galaxy—I didn’t know about them, and I didn’t even know that I didn’t know about them.
That changed when I was fourteen years old. I began attending a nondenominational church in the suburbs of Cleveland, Ohio, and I soon had a personal experience of God and became a believing Christian. So for me, religion—going to church, learning and acknowledging dogmatic teaching, engaging in specific rituals with other believers, and intentionally following particular behavioral norms—has always involved a personal choice and a spiritual experience.
During my college years, I met people who felt differently. They had grown up in religious households, but their religion had never felt spiritual. In fact, for many of them, the trappings of religion seemed to be an obstacle to real spiritual experience. They found spirituality outside of religion and in spite of religion. These friends sometimes described themselves as “spiritual but not religious.”
Ever since, I have often puzzled over that phrase, and that reality. My own journey eventually led me to enter the Catholic Church, follow a call to the priesthood, and consecrate my life to God in a religious order. Each step of the way, religion and spirituality have always gone hand-in-hand. And yet, throughout my fifteen years of priestly ministry, I have continued to meet people for whom being spiritual seems more important and more real than being religious. And I have also continued meeting people who were outwardly religious but clearly unspiritual.
In my opinion, both “spiritual but not religious” and “religious but not spiritual” are incomplete. Neither gives the human heart the meaning we all long for. This book is an attempt to explain why. It is also an attempt to help religious people live more spiritually and to help spiritual people discover the incomparable riches of authentic religion.
1
What Do We Mean by Spiritual ?
T he word “museum” comes from a Greek term meaning “seat (or place ) of the Muses.” In ancient Greece, the Muses were nine goddesses, daughters of Zeus and Mnemosyne (goddess of memory). These Muses were the divine sources of inspiration for great artists. Using the word “museum” to refer to a place where we can study and contemplate great works of art illustrates the implicit connection between spirituality (inspiration) and religion (divine source of inspiration).
In fact, many of the greatest works in the world’s best-known museums are explicitly religious in their subject matter and their origin, from Egyptian tomb decorations to baroque crucifixion scenes. Yet no one would claim that museum visitors must be religious in order to appreciate these great works of art. Somehow, their aesthetic eloquence is sufficient unto itself. The gallery of the Muses, then, is a safe place to explore the mysterious connections and distinctions between what is religious and what is spiritual.
Impractical Value
A museum also happens to be a quintessentially human thing. Unlike a burger joint, it has no obvious practical purpose. In a burger joint, we can get food. We need food to stay healthy and alive. The practical purpose of a burger joint is undeniable. But what about a museum? The practical advantage gleaned from gazing at and thinking about a painting or a sculpture is less tangible. Some might even say there is no advantage. And yet, for more than a few centuries now, human beings have continued to pour immense amounts of time and money into the production, collection, and display of works of art.
The Detroit Institute of Arts, for example (I will be referring to many works in the DIA throughout these pages; I live nearby), ranks among the top six art museums in the United States. Its more than a hundred galleries host a collection whose net assets exceed $300 million. Its annual revenue in 2017 exceeded $55 million and covered its $40 million functional expenses. 1
Yet no one eats its paintings. No one drinks its sculptures. No one lives under its roof, and no one weaves clothing out of the documents in its art reference library. What is so valuable about something so impractical?
In 2017, a recently rediscovered painting (just one painting) by Leonardo da Vinci sold at an auction for over $450 million, more than the entire asset value of the Detroit Institute of Arts. That broke the previous record held by an abstract landscape painting from William de Kooning called Interchange , which had sold for $300 million. 2 One single painting, bought for as much as a record-setting Powerball jackpot. Why?
A Matter of Fact
A great work of art is worth more than the material used to make it because it captures and communicates—and sometimes symbolizes—something more than mere matter. A great work of art is like a sacrament: it mysteriously makes present through its physicality something that transcends mere physics. This is why human beings make art; this is why humans delight in beauty; this is why humans laugh at stand-up comedy routines and cry at sad movies; we, too, are more than mere matter.
I have never seen a squirrel contemplating a Rembrandt. I have never seen a dolphin attempt to capture a seascape in oils or watercolors. The arts—the creation of things like paintings, sculptures, and even films—is something uniquely human. Having food, clothing, and shelter is somehow not enough for us. Once we have supplied for our basic biological needs, we are still restless. This restlessness, this yearning for something beyond what is merely material, is the spark of spirituality. Every work of art is an expression both of the restlessness and of an insight or experience in which that restlessness was somehow recognized and relieved, even if only partially or temporarily. When we truly connect with a work of art, then, we are enriched by it in immaterial terms.
Surprised by Saint George
Have you ever been surprised in a museum? I have. In fact, the trajectory of my life was altered by a surprise encounter I had with a marble sculpture.
It was my junior year of college, and I was in adventure mode. I was in love with learning, with exploring and discovering. My history major and my university’s myriad overseas campuses pointed me toward a year of study abroad. I started out in Florence, Italy, the birthplace of the Renaissance. My art history class was touring the Bargello National Museum, the medieval city hall turned priceless sculpture haven. Our guide led us into the Donatello room, and as the rest of my classmates followed the professor, my eye caught a marble figure in the corner that completely arrested my attention and irresistibly drew me toward it.
I stood before a life-sized statue of St. George whose presence was so compelling that it made me catch my breath. St. George had been a Roman legionary who became a Christian and rescued a Middle Eastern village from the tyranny of evil, usually represented in art and legend by a dragon. Donatello, however, chose to omit the dragon from his marble sculpture. Instead, he depicts George as a young soldier, wearing his armor and military cape, and balancing his shield on the ground in front of him. With his weight equally distributed on both feet, contrary to the more popular Renaissance trend toward the elegant, dance-like contrapposto position, the saint gives an impression of stability, firmness, and determination.
His head is turned slightly to the left as he looks into the distance. Whatever he sees, whether the dragon or something else, he is ready for it. His furrowed brow shows a recognition that the challenge ahead of him is serious. His slightly parted lips show an eager confidence instead of fear.
But that day, when this six-hundred-year-old sculpture seemed to tug at my soul, I perceived something even deeper than courage and strength. I saw in his face and his bearing something that I didn’t find in myself, someth