What does the Bible say about art?

Of the first it is said: "And I have filled him with the Spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship" (Ex. 31: 3). To Christians it may seem strange to consider men filled with the Spirit in order to give craftsmanship and skill, but so it was. "To devise artistic work-to work in gold, and in silver, and in copper, and in cutting of stones, for setting, and for carving of timber-to work all manner of work" (Ex. 31: 4-5, J.N.D. Trans.). The artistic ability was given by God. We recognise that the Holy Spirit gives spiritual power, altering our lives and enabling us to offer spiritual sacrifices, but in Exodus the things produced were tangible. Yet, though made with hands, Divine power was needed. This should not really surprise us, because all the things Bezaleel made were types of Christ. It says in Exodus 37 and 38:

Shall we then have recourse to art and culture? Shall we emulate the Greek spirit? Alas! is it not abroad all around us? Not that it is wrong to love beautiful colour, or musical notes; it is fatal to deify beauty. This was what the Greeks did, and moderns imitate with infinitely less excuse. On the other hand, bare Puritanism is not Christianity. For it is significant that when the Holy Spirit would portray that which is brightest and holiest in heaven, He employs as symbols that which is accounted most lovely on earth, it matters not whether it be the breast-plate of Aaron, or the foundations of the Holy City. Clearly then the evil does not consist in appreciating what is lovely in its proper sphere, but in making it an end. A vain dream!

The plea most commonly employed to sop the Christian conscience on this subject is that scriptural paintings, and sacred art generally, are but a helpful paraphrase of inspired words. But this plea is as false as it is plausible. For, first, such devotional aids are superfluous to those who believe in the Holy Ghost and rely upon His teaching; and secondly, no cunning fiction can ever represent unadulterated truth to any mind. Faith neither comes nor grows by sense; it is both born and nourished of the word of God. Art, as an imitator and interpreter of nature, has its proper and legitimate sphere; but things spiritual can be neither truly nor blamelessly represented through a medium which has no deeper source than the human imagination, and can never act therefore healthfully upon a new-born soul. For the true portraiture of Christ, which gratifies and feeds the souls of God's elect, is not such as imagination can conceive and art transfer to canvas, but that which the Comforter engraves upon the fleshy tables of the heart, as He reveals things unseen by the eye and unimagined by the heart of man through His effectual ministry of the word of grace.3 And can it appear strange to any thoughtful believer that the day of the Lord is declared to be against what the world so highly prizes,4 when it is remembered that the most admired works of art are, speaking generally, false delineations of the very truths whose living substance is rejected by the world? A painted or a sculptured Christ may excite in a certain class of minds a religious emotion of a spurious or factitious kind; but God is a Spirit, and it is not sensuous worship that the Father seeks.5

The measure of this evil is wide as the habitable earth. Wherever men are, it is either latent or in act. All that in external worship or in private habit engages the heart's attention, yet is not of the Spirit, is idolatry. Faith loves and lives on that which neither eye can see nor fancy feign. Art cannot help faith, but may easily mislead it, and abuse it. To what an extent this has been proved let the history of Christendom attest. "Little children, keep yourselves from idols," was the parting injunction of Christ's last inspired witness. But "idols of gold, and silver, and brass," have drawn and draw still the eyes and hearts of earthly-minded flamers of the name of Christ, nor will the plagues of God dislodge the spirit of idolatry from the heart of unregenerate men (1 John 5:21: Rev. 9:20). Art, secular and religious, still flourishes, and will yet advance. But we do well to remember that the crown of all idolatries is to be the masterpiece and miracle of human skill as inspired from beneath (Rev. 13:14-15). To that crisis the whole course of this age of religious godlessness is tending. Let it be earnestly remembered also that of the "members which are upon the earth," which men risen with Christ are exhorted to mortify, the only one which receives distinctively the surname of "idolatry" is that covetousness, or selfish love of acquisition (pleonexia. Col. 3:6), which is so broadly marked a character of our times. Idolatry is essentially the worship and service of the god of this world, and is practised wherever the lusts or fears of men prevail against their faith. It is the very strength and ornament of falsehood, the first-born and chief servant of the father of lies; and its unrepentant votaries must have their final place where all other liars are (Rev. 21:8; 22:15). Idolatry, in one word, is the madness of the wicked, as true faith is the wisdom of the just. But, allowed or disallowed, its spirit lives in every mortal man. The heart that is not fully occupied by Christ, and living on His love, will have shrines for His adversary in its corners, whether consciously or not.

Pages 49-51. This is all imagination. 'Man possessed a sense of beauty as an essential ground of his intelligence and fellowship with Heaven. He was therefore to cultivate the feeling of the beautiful, by cultivating the appropriate beauty inherent in everything that lives.' Scripture history of development of art is Cain when he had lost God altogether. Why is this so given? The sense of beauty is of God, and finds it in its place in God's works, as Christ in the lily, not in Solomon. All this, too, makes the first man the object of God's designs and counsels - a fatal error, and a denial of the Cross. He says, 'Man was to trace, in the operations proceedings around him, the workings of the divine mind, and then make them bear the impress of his own'!

The opening of this brief chapter records the divine call and the divine qualification of "Bezaleel and Aholiab" to do the work of the tabernacle of the congregation. "And the Lord spake to Moses, saying, See, I have called by name Bezaleel the son of Uri, the son of Hur, of the tribe of Judah: and I have "filled him with the Spirit of God, in wisdom, and in understanding, and in knowledge, and in all manner of workmanship … And I, behold, I have given with him Aholiab the son of Ahisamach, of the tribe of Dan: and in the hearts of all that are wise-hearted I have put wisdom, that they may make all that I have commanded." Whether for "the work of the tabernacle" of old, or "the work of the ministry" now, there should be the divine selection, the divine call, the divine qualification, the divine appointment; and all must be done according to the divine commandment. Man could not select, call, qualify, or appoint to do the work of the tabernacle; neither can he, to do the work of the ministry. Furthermore, no man could presume to appoint himself to do the work of the tabernacle; neither can he to do the work of the ministry. It was, it is, it must be, wholly and absolutely divine. Men may run as sent of their fellow, or men may run of themselves; but let it be remembered that all who run, without being sent of God, shall, one day or other, be covered with shame and confusion of face. Such is the plain and wholesome doctrine suggested by the words, "I have called" "I have filled," "I have given," "I have put," "I have commanded." The words of the Baptist must ever hold good, "a man can receive nothing except it be given him from heaven." (John 3:27) He can, therefore, have but little room to boast of himself; and just as little to be jealous of his fellow.

There is a profitable lesson to be learnt from a comparison of this chapter with Genesis 6. "Tubal-cain was an instructor of every artificer in brass and iron." The descendants of Cain were endowed with unhallowed skill to make a cursed and groaning earth a delectable spot, without the presence of God. "Bezaleel and Aholiab," on the contrary, were endowed with divine skill to beautify a sanctuary which was to be hallowed and blessed by the presence and glory of the God of Israel.

A general name for skilled artisans, whether in metal, stone, or wood. Tubal-cain was the first named as an artificer in brass and iron. Jubal was the father of all such as handled, or invented and made, the harp and the organ. Cain also built a city. Gen. 4:17, 21, 22. In the above we see the application of the arts by man at a distance from God to promote their own welfare in independence of God. In after times the spirit of wisdom was given to Bezaleel for the work of the tabernacle in "all manner of workmanship." Ex. 35:31: cf. also 1 Chr. 29:5; 2 Chr. 34:11. It would seem that the Jews never afterwards lost this skill, as the remains of the walls of Jerusalem indicate. Nebuchadnezzar carried off all the craftsmen (same word as artificers) and smiths from Jerusalem, 2 Kings 24:14, and he may have made use of their skill to adorn Babylon.

The language of these laws is absolute and peremptory. “You shall” or “you shall not.” No allowance is made for any deviation. First, no other god could be allowed to take God's place. Nothing must in any way be used even to represent God, no image, no likeness of anything in creation must have any place of spiritual honor in people's minds. This is idolatry. Even pictures of this kind were forbidden (Num. 33:52)

By God's distinct call Bezaleel of the tribe of Judah was given a place of prominence in the work of building. God had filled him with the Spirit of God, to have wisdom, understanding and knowledge as to all kinds of workmanship. This involved artistic design, whether in gold, silver and copper, in cutting jewels, carving wood etc. Besides this working ability he was also given ability to teach, so that others could follow in similar work. However, another man, Aholiab of the tribe of Dan is to supplement Bezaleel in the work. Dan was the tribe that went first into idolatry and unfaithfulness (Judges 18:30-31), in spite of which, in the end, “Dan shall judge his people as one of the tribes of Israel” (Gen. 49:16). Bezaleel of Judah symbolizes the government of God in His house, but Aholiab of Dan pictures the grace of God, who can restore even from serious failure.

It appeals to the flesh, the feeling of a corrupted nature: this is the sensual attraction. But more, there is the lust of the eyes," the artistic attraction, - form, colour, perspective, all engaged to appeal to that in us which seems noble and dignified, but which calmly excludes the Father. May our eyes not wander from our holy blessed Lord, in Whom all true, pure beauty is comprehended. And thirdly, "the pride of life" is the intellectual attraction, the appeal of increasing knowledge, by which the world boasts of its ability to do without God.