Let’s define a sublime experience as one that is dramatically better than life as usual, since life involves suffering—at least in part and over the long run.
I doubt that sublime experiences reveal a truth: that everything is redeemed. Nor are they false, mere fantasies of people who cannot face reality. Rather, they are part of human experience, within our available range.
Life may be suffering, but it also encompasses the sublime. We are constituted to enjoy some things, and that is a wonderfully good fact about us. Just as we may lament our human proclivities to violence, despair, and cruelty, so we can celebrate our ability to savor what we find sublime. And not only celebrate it but actively cultivate this appreciation and share it with other people through the representations that we create.
Some wonderful experiences intrinsically involve interacting with other people. These activities include romance and sex, athletic competition, and success in any collective effort, including (I presume) victory in battle. I will leave this category aside for the present purposes, although it is desirable to gain emotional highs by interacting with other people while also being ethical.
I want to focus, instead, on that diverse category of experiences in which a person encounters an object that seems sublime, whether it is a view of nature, a song or a picture, a religious ceremony, or a meditative insight. Indeed, the word “sublime” is generally reserved for this category.
A classic debate in aesthetics asks how we should interpret such experiences. Does the object cause the experience? If so, do some things merit being called sublime while others should not be treated that way? (Can we be wrong to relish something that is not worthy?) Did the creator of the object have a powerful and positive emotion that the object now communicates to us? Or are observers more responsible for causing our own emotions by how we choose to perceive an object (Peacocke 2024)?
Our answers to those questions may differ if the object is a poem, a sunset, or a meditative exercise. For instance, an author has emotions while writing, so we can ask whether a poem conveys the poet’s inner state to us. But some would say the same about nature. Gerard Manley Hopkins (1877) detects a Divine Father behind all “dappled things,“ like “skies of couple-colour” or “a brinded cow.” “Praise Him,” says Hopkins. On the other hand, some doubt that an author’s emotion is relevant in any case, even when a sensitive human being has made a work. They think it is all about the object or the observer.
This debate continues. I want to add a different dimension, not only because I believe it is true, but also because it can enrich our experience.
I think we often relish things because we have been taught how to perceive them. This is a skeptical point. It reminds us that we would enjoy very different things if we lived in a different time and place. It provokes some (appropriate) doubt about whether our reactions are true.
For instance, I like a snowy day. I believe this appreciation is something learned. I do not simply see the snow; I see it with things already in my mind, like Christmas decorations, paper snowflakes on second-grade bulletin boards, Ezra Jack Keats’ A Snowy Day, Pieter Bruegel the Elder’s “Hunters in the Snow,” Han-shan’s Cold Mountain lyrics, Robert Frost’s “lovely, dark and deep” woods, Hiroshige’s woodblock prints of wintry Japan, Rosemary Clooney with Bing Crosby. In short, I have been taught to appreciate a winter wonderland, a marshmallow world, and a whipped cream day. Some of these influences probably detract, but they were meant well.
It is sometimes said that when Petrarch climbed Mont Ventoux (in Provence) in 1336—simply to enjoy and describe the view—he was the first European ever to do such a thing. Clearly, some people outside of Europe had loved mountain views long before Petrarch. I find it plausible that certain communities of people appreciate alpine vistas, while others do not. And some of us may have learned the sublimity of landscapes from a chain of people originally inspired by Petrarch, although he was surely influenced by classical sources. We all see what we have learned to see.
Let’s say that I am looking at a large and dramatic sky, with ragged clouds that are mostly dark but illuminated here and there by a hidden sun. Perhaps there are also wind-blown trees in view and small signs of human habitation.
I believe that I appreciate this vista in part because I have studied and enjoyed 17th-century Dutch landscape painters and some later artists whom they influenced, such as John Constable, the Americans of the Hudson River School, and Impressionists. These artists do not explain nature to me. They do not reveal why the background color of the sky is blue and leaves are generally green. Their representations of nature would not convey sublimity to a different species, such as my dog Luca or an alien from Mars. As Thomas Nagel (1970) says, “A Martian scientist … would never be able to understand the human concepts of rainbow, lightning, or cloud.”
Instead, these artists help me to see what is in my phenomenal world: how clouds pile up and sun peeks through. Come to think of it, our phenomenal world is a bit strange. It includes an object that is so painfully bright that we avoid it, and it has borders that we cannot see because they move as we shift our gaze. This is also the world that the Dutch painters present on canvas.
In turn, I enjoy Dutch landscapes more thanks to Svetlana Alpers’ 1983 book The Art of Describing: Dutch Art in the Seventeenth Century, which I read when it was still fairly new and have returned to since. Alpers’ project is not to praise the artists whom she discusses; she does not practice “art appreciation.” She identifies a way of thinking about images, an epistemic framework, that explains what the Dutch painters were up to and that distinguishes them from Renaissance Italian painters (without suggesting that either is preferable). Her insights have enriched my understanding of the original works. And she is only one in a sequence of critics and historians, collectors and curators, and subsequent artists who have turned 17th-century Dutch landscape painting into a category and helped us to value it and see it better. Again, how I see that art influences how I see nature, especially when the landscape even remotely resembles Holland.
I hold a doctoral degree and have chosen to visit museums and read academic criticism for decades. I am not claiming that reading scholarly books and labels in museums is the best (let alone the only) way to enrich current experiences. Many people learn to name, value, represent, protect, and use objects from their elders without needing written words. Religious communities also develop ceremonies and observances that convey the creativity of previous generations. Academic criticism is unusually explicit and transparent about its sources; that is the purpose of footnotes. But all human communities accumulate and transmit ways of experiencing the world.
Sometimes, people are motivated to ignore or conceal the influence of previous observers on their own sublime experiences because of an implicit assumption that the sublime should be pure and universal and stand outside of history. Just as an example, North Americans who experience anapanasati, or Buddhist breathing-meditation, may be told (or may tell themselves) that this is the original practice of the Buddha himself. They envision themselves as doing something pure and personal that reveals absolutely general truths, such as the non-existence of the self. A person who may have lived in what is now northern India and Nepal more than two thousand years ago not only did the same thing as modern meditators but is causing us to practice anapanasati now, because we hear the Buddha’s “teachings.”
But we might look around the room, which probably (not invariably) incorporates some aesthetic elements from East Asian art, along with 20th century European minimalism: bare wood, a simplified statue. People speak English with a sprinkling of Sanskrit words. They sit cross-legged and meditate but do not maintain shrines, prostrate themselves, make pilgrimages, or give alms, which would be common manifestations of Buddhism in East Asia (Moon 2024)
Many participants may identify as white and think of what they are experiencing as Asian. Indeed, they may classify the Buddha as an Asian man, notwithstanding that he predated the distinction between Asia and Europe. Rev. Cristina Moon (a Zen priest from Hawaii) recalls:
Over the fifteen years before coming to Chozen-ji [a temple and monastery founded by Asian Americans], I sat with more than a dozen different Buddhist communities where I was often the only Asian and sometimes one of the only non-white people in attendance. When non-Asian Buddhists (particularly at American Zen centers) wore Japanese clothes, bowed to me theatrically, referred to me as “Cristina-san,” responded to requests in English with “Hai!”, and expressed rigid attachment to the technical accuracy of certain Japanese and Buddhist forms, it looked more like cosplay [dressing as a character from a movie] than a means to enter Zen, (Moon 2024)
In the US, there is a certain tendency—I don’t know how widespread—to see Buddhist thought as ahistorical. The Buddha is treated as a contemporary; the meditating mind lives only in the immediate present. There is also a tendency to acknowledge Buddhism’s roots in Asia but to depict Asian or Eastern “culture” as monolithic, apart from superficial aesthetic differences that people can browse like consumers.
The white or European-American Buddhists whom Rev. Moon has encountered may differentiate between the transcendent truths of the Buddha and optional traditions and behaviors that they label “culture.” They then pick and choose from the traditions without recognizing that they (highly educated, mostly White Americans) are every bit as immersed in their own stream of inherited behaviors, aesthetics, beliefs, and values, which influence their choices about what to borrow from Asian contexts. Linda Heuman writes:
The French philosopher and sociologist of science Bruno Latour famously described it this way: “A Modern is someone who believes that others believe.” A modern Buddhist, in Latour’s sense, is someone who believes that Asian forms of Buddhism carry the “baggage” of their host cultures but who remains unreflective about the assumptions that shape his or her own modern adaptation (Heuman, 2015).
For instance, sitting in a minimalist pine room feels pure, although it reflects the same Modernist aesthetics as a boardroom in a skyscraper, whereas prostrating before a brightly colored Tibetan shrine would seem like “culture.”
Any mind is ineluctably historical. As we develop from speechless infants into adults, we absorb a vast array of classifications, assumptions, and values that other people invented before us. We can never escape this historical contingency. You might think that you can have an unmediated experience of nature, but your tastes in nature, your words and concepts for nature, and even your physical location in front of a specific patch of nature are all historically conditioned.
History is highly complex, diverse, and often cruel, whether we happen to know the details or not. Evils are widespread—consider, for example, the use of Buddhist ideas in imperial Japan or in Myanmar today. Human beings widely and blatantly violate principles that they expressly teach, such as nonviolence and compassion. On the other hand, people all over the world also create practices and institutions that reflect wise goals and choices. What we think we know is a result of this complex, globally interconnected, and fraught past.
Cristina Moon’s description of cringy behavior at North American Zen centers is a portrait of people who want to pick and choose ideas and practices that they find comfortable without taking seriously the historical development and interconnection of those ideas, without being genuinely open to practices that might challenge them, without being careful about their own status and impact, and without wrestling with the connections among racial hierarchy and exclusion, everyday culture, and the abstract beliefs that we might classify as Buddhist philosophy or theology. Yet the solution is not to declare these beliefs off limits (nor does Moon suggest we do so), because everyone should always be looking for good beliefs to adopt. We must simply do it with a lot of care–not only about the ideas and their effect on our inner lives, but also about the other people we touch.
To me, our debt to other human beings only deepens the sublime. Nature was not created for us; it just is. And we were not created to enjoy it, although—very fortunately—we do. But our fellow human beings have deliberately shared their appreciation and heightened our own, which means that we are the beneficiaries of benevolent intelligence after all.
In “Of Dappled Things,” Hopkins writes, “Praise Him.” I would (also) say, “Praise them.”
This is a combination and reformulation of previous posts (apologies for the repetition), including: the sublime and other people; the sublime is social–with notes on Wordsworth’s Lines Above Tintern Abbey; notes on religion and cultural appropriation: the case of US Buddhism
Sources: Antonia Peacocke, “Aesthetic Experience,” in The Stanford Encyclopedia of Philosophy (Fall 2024 Edition), Edward N. Zalta & Uri Nodelman (eds.); Thomas Nagel, “What Is It Like to Be a Bat?.” Philosophical Review 79 (1970): 394-403, p. 443; Svetlana Alpers, The Art of Describing: Dutch Art in the Seventeenth Century (University of Chicago Press, 1983); Cristina Moon, “From ‘Just Culture’ to a Just Culture, Tricycle, Oc.. 29, 2020; Linda Heuman (2015) “A New Way Forward,” The Tricycle, Spring.
