Mondrian and Theosophy – Part two
- Published: Monday, 26 September 2016 08:18
Robert P. Welsh – USA
[This article originally appeared in a book called The Spiritual Image in Modern Art containing a series of articles compiled by Kathleen J. Regier published by Quest Books. All images are purely educational illustrations to an academic review of the subject].
A young Piet Mondrian
If the Devotion comprised an attempt by Mondrian to give artistic expression to an esoteric, clairvoyant experience of "astral" colors appropriate to the preliminary stages of Theosophic initia¬tion, then the Evolution triptych transports us to more exalted realms of occult knowledge. Above all, it is the title of this composi¬tion which betrays the ''higher spheres" to which its content relates. Evolution is no less than the basic tenet in the cosmological system predicated by Mme Blavatsky and, as such, replaces the Christian story of Creation as an explanation for how the world functions. This cosmology is analogous to Hindu and other mythologies which stress a perpetual cosmic cycle of creation, death, and re¬generation. It also has much in common with the Darwinian scientific theory of evolution. Darwin's only essential mistake, in Blavatsky's opinion, was to substitute matter for spirit as the motivating force in the universe. In her own world view, matter, though constituting a necessary vehicle through which the world of spirit was to be approached, clearly stands second in importance to the latter phenomenon, from which, to be sure, matter is said to have been born. The resulting concept of spirit as the active and matter as the passive force in the world is, of course, deeply rooted in a wide range of mystical tradition reaching far back into the past, as the writings of Blavatsky profusely attempt to illustrate. More to the point, this conceptual polarity was universally accepted as a cardinal doctrine throughout the Theosophic and other in¬tellectually related late nineteenth century spiritualist movements and also is present within the subsequent Anthroposophy of Steiner and the Christosophie of Schoenmaekers. The same polar conception pervades the art theoretical writings of Mondrian, be-ginning with his letter to Querido of 1909, and is epitomized in his Sketchbook of circa 1912-14. In the latter text he specifically alludes to the Theosophic Doctrine of Evolution as a determining factor in the history of art. In short, Mondrian could not have chosen as the theme of his monumental triptych a doctrine which was more central to Theosophic teaching than this.