Don Draper Meets Abraham Kuyper
—Russell Moore—
Few would think of television’s Mad Men series as religious programming. The show, set in the 1960s era of cutthroat Madison Avenue advertising business, is almost a high-class soap opera, saturated with adultery, substance abuse, and backstabbing. The program’s worshipful aspects might have been recognized, though, by a turn-of-the-century Dutch politician and theologian.
In his new (and groundbreaking) intellectual biography of Abraham Kuyper, historian James Bratt examines Kuyper’s interaction with the challenges of modern secularism, especially in his later travels abroad, including to the United States. Kuyper recognized a loss of authentically Christian identity in the so-called “Christian” countries of Europe and North America.
As a theologian, a church leader, a newspaperman, and an elected official who had served in Parliament and as Prime Minister, Kuyper had a wide-angled lens on cultural forces. Kuyper saw two “lords” at work in the spirit of the age around him, contesting the lordship of Jesus Christ.
The first lord, Bratt explains, was Mammon, which he defines as “a thorough absorption in getting and spending within the horizon of the material world.” Kuyper saw this form of idolatry as worse than the golden calf of Israel’s wilderness folly. The calf, after all, was an unapproved image of God, but contemporary worship of Mammon entailed “the displacement of God altogether,” in the quest for more as a religion all its own.
The second lord was more intriguing to me: Art. Kuyper recognized the organic connection between art and religion, both for good and for ill. This creative impulse still attracted a “spiritual aristocracy” seeking a “small mystical oasis” in the “materialistic wilderness.” Kuyper’s point here is strikingly prescient. After all, what gives a sense of transcendence and even communion in the postmodern era if not the arts, especially music and film?
After we have disenchanted nature, seeing beauty but without an overarching Logos behind it, we can still recognize creativity and teleology in art. And in recognition of this beauty, we can find a sense of communion with one another.
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