From Clay to Spirit: Ceramics as Transformative Practical Theology

Within theology and religious studies, the dialogue with the arts often privileges finished works of art as objects to be aesthetically or hermeneutically consumed rather than engaging the creative processes that give rise to such artifacts. This dominant paradigm is exemplified in the theological aesthetics of Hans Urs von Balthasar, the hermeneutical approaches of Jeremy Begbie and David Morgan, and even, to an extent, the high-art theology of making espoused by Makoto Fujimura. By contrast, the pedagogical approach I propose, termed "Fabricandi Divina," shifts focus decisively from hermeneutical and aesthetic interpretation toward the embodied practice of artistic creation itself. It aligns more closely with the democratic, practice-centered, and accessible theology characteristic of scholars such as David Brown and Maggi Dawn, situating the theological classroom explicitly within the ceramics studio.

Theologically, this pedagogical practice is rooted in the interrelated doctrines of creation, theological anthropology, and pneumatology. Scripture’s vivid portrayal of divine creativity as inherently tactile and relational (Genesis 2:7, Exodus 31) forms a foundation for the theological significance of making. Dorothy Sayers’s concept of creativity, articulated in The Mind of the Maker, further undergirds this approach, affirming the parallels between human creative acts and divine creativity. Sayers insists that creativity itself is a deeply theological practice, mirroring the triune God’s relational, dynamic creativity through Idea, Energy, and Power. Similarly, Soetsu Yanagi’s aesthetic philosophy, as articulated in The Beauty of Everyday Things, challenges classist assumptions inherent within Western distinctions between "art" and "craft," affirming instead the profound spiritual and aesthetic value of everyday, utilitarian objects.

This theological framing informs a robust pedagogical method centered upon embodied making. Drawing explicitly on the methodological insights of practical theology, "Fabricandi Divina" intentionally inverts the inherited theory-practice hierarchy prevalent in much theological education. Rather than relegating practical arts to mere illustrations of theological ideas, the method situates embodied practice—ceramics making—as the primary locus of theological inquiry and spiritual formation.

Structurally, "Fabricandi Divina" adapts the meditative rhythms of lectio divina, translating them into five distinct stages: formatio (preparation), conformatio (shaping), ornatum (adorning), contemplatio (reflective contemplation), and traditio (offering). Each phase involves intentional theological reflection and spiritual engagement:

• Formatio: Students begin by experiencing clay as a metaphor for human formation, connecting tactile sensations directly with Genesis 2’s narrative of humanity created from dust.
• Conformatio: In shaping their ceramic pieces, students engage physically with theological metaphors of sanctification, discipleship, and formation, aligning their creative acts with divine-human collaboration.
• Ornatum: Decoration invites students to leave personal marks or symbols, reflecting individual spiritual journeys, identities, and theological insights, thus acknowledging the uniqueness of each participant’s relationship with God.
• Contemplatio: Students engage in deep reflection on their ceramic pieces, fostering spiritual and theological contemplation rooted in tangible experiences rather than abstract ideas alone.
• Traditio: Perhaps the most transformative pedagogical element, this stage culminates in a ritualized release of ceramic objects for firing. Accompanied by a liturgical offering prayer, students entrust the outcomes to processes beyond their control. The randomness of kiln firing embodies a deeply formative lesson in spiritual trust, surrender, and openness, shifting pedagogical emphasis decisively from the product toward the transformative spiritual and theological meaning of the creative process itself.

This emphasis on embodied experience intentionally engages Charles Taylor’s philosophical critique of modern subjectivity. In his work on secularity and subjectivity, Taylor describes modern individuals as "buffered selves"—closed off from external sources of meaning, excessively interiorized, and cognitively insulated. By contrast, ceramics-making inherently engages students in meaning-making that extends beyond cognitive abstraction and solitary interiority. Paul Ricoeur’s phenomenology further illuminates this pedagogical method by framing ceramics as a practice fostering "second naiveté," a posture where meaning emerges through embodied, tactile encounters with materials rather than purely hermeneutic analysis. Ceramics practice thus offers a vivid corrective to modern, disembodied spirituality, reuniting mind, body, and spirit in the theological classroom.

Preliminary student reflections from pilot experiences underscore this phenomenological dimension, affirming a profound sense of grounding and spiritual connection. Students consistently report how the physical act of centering clay on a wheel metaphorically and experientially aligns them with divine creativity, fostering tangible experiences of grace, patience, humility, and sanctification. Particularly transformative is their reflection on the offering stage, where they symbolically release their ceramic works. In their accounts, this act of letting go reframes failure, randomness, and brokenness not as theological problems, but as integral to the spiritual journey itself. Further, these experiences often result in heightened awareness and appreciation of ordinary ceramic objects—plates, cups, bowls—as potential sacramental signs, continually recalling formative spiritual lessons learned in the studio.

Integrating global and intercultural practices further enriches "Fabricandi Divina." Japanese ceramic traditions such as wabi-sabi (celebrating beauty in impermanence and imperfection) and kintsugi (the art of repairing broken ceramics with precious metals) offer compelling metaphors that deepen theological reflection on Christian doctrines of sin, grace, restoration, and redemption. These interreligious practices invite robust theological dialogue, challenging and expanding students' theological imagination while affirming cultural humility and sensitivity.

Institutionally, "Fabricandi Divina" functions as a distinctive elective within the Master of Divinity curriculum at General Seminary, explicitly designed to foster creativity and innovation within liturgical, spiritual, and communal practices. Its pedagogical innovations challenge and expand the prevailing theory-practice paradigms in theological education, modeling a holistic, integrative pedagogy that combines rigorous theological reflection with embodied spiritual formation. In so doing, it intentionally dismantles hierarchies prevalent within theological aesthetics and advocates for a more inclusive and accessible approach to theological education and spiritual formation.

In sum, "Fabricandi Divina" proposes not merely an innovative classroom exercise, but a holistic pedagogical method transforming theological education. By recentering embodied, communal creativity at the heart of theological formation, this approach enriches students spiritually, intellectually, and pastorally. It offers theological education a needed corrective—one that embraces art not merely as illustrative or ancillary but as fundamental to the transformative work of practical theology itself.