The Alt-Right has struck me as being mostly devoid of spirituality in recent days. Much is done in the way of discussion regarding spirituality, unquestionably, but very little is accomplished in actually establishing a concrete foundation of spirituality; religion has taken almost total precedence in spiritual discussion. To clarify, I understand, very much so, the primary importance of discussing religion when examining the ideas of spirituality as a whole, but even as we continue to bicker back and forth over what religion our eventual society will adopt (I shall ruin the surprise by answering: Christianity), and champion the cultural significance of race and ethnicity in establishing a spiritual commonality, we should be pushing into the limelight that universal sense of beauty with which we are imbued. The understanding of beauty, along with the capability of existential thought, is one of the foremost elements that elevates us above that of the typical animal and, thus, is something that we should seek to make use of with far greater regularity than we do. This particular line of thought, mind you, is extremely relevant not merely to the Alt-Right, but to the Right side of the political spectrum as a whole, which has fallen as it has, perhaps, precisely because it lost the understanding of the human spirit and those things that nurture it. It is then necessary to understand that we, as the potential vanguard of tradition in a traditionless world, should fully understand the importance of art by the time of our eventual replacement of the functionally dead “Right-wing.”
But first, why is art spiritually nourishing? The atheist is likely prone to an explanation similar to: “Because art is a reflection of your people, and beautiful art demonstrates that your people better than others. After all, you don’t see African art praised nearly as much as that of European and Asian art!” Now, within this explanation is a great deal of truth, but it is ultimately merely “exoteric.” To delve deeper, now into the “esoteric,” I believe art to be spiritually nourishing due to the nature of beauty itself; that is, we appreciate beauty for the same reason that we engage in existential thought, in that our Creator (who is obviously the Christian God) planted within us these seeds that cause us to naturally seek closeness with Him. Beauty in particular is interesting because instead of leading us to question the existence of God and thus be satisfied when we learn of the Absolute Truth that is God, beauty is a link to God, as a reflection of Himself, who is the ultimate form of Beauty. Thus, to look upon a fine sculpture or a tremendous painting, or to listen to the evocative melodies of some concerto or what have you is to experience an aspect of the Lord God Himself. This is why Catholic and especially Orthodox churches put such effort into being beautiful, for a House of God becomes far more spiritually effective when it demonstrates within it the beauty of God for all to see. Indeed, I would say an element contributing to my original fall into nihilism was caused by the Protestant tendency towards barren places of worship and, by extension, a barren understanding of the human spirit.
Thus we arrive at the state of art in modernity. To put it simply, it is absolutely dead in a general sense, as the modern, post-modern, and contemporary eras of “art” conspired to rob art of its beauty and, thus, its ability to evoke strong emotion from the ones experiencing it, and replace it with a false sense of hidden meaning to disguise to the average individual the spiteful hideousness of it all. To examine modern to contemporary art and state aloud a potential “meaning” to a piece is met with negativity. This is because proposing a meaning to such art is pointless, as it generally is nothing, means nothing, and evokes nothing, (with certain exceptions including the now-infamous Piss Christ, which is a blatantly hateful “work”) and the taboo of trying to assign meaning to meaninglessness is now universally understood even though many don’t understand why it is understood. Art then, as it always has been, is a reflection of the times in which we live, and art has never been uglier. It is the perfect fit for a nihilistic society, one that has no principles or values, no beauty on the inside nor out, and seeks nothing more than self-gratification that, ultimately, means nothing subsequent to life. Art of today plays this part not merely in terms of “aesthetic,” but in the material sense as well, since it isn’t uncommon to hear of artists that have painted virtually nothing sell their pieces for ludicrous sums of money (though any sum of money is more than this vile nonsense deserves, to be perfectly frank).
For the sake of amusement, I should like to point out that Nazi Germany considered such art as this to be “degenerate,” which it absolutely is. They also disliked modern art for another unsurprising reason that I feel somewhat obliged to point out: Certain people with an affinity for dodging ovens and hand-rubbing, and who are often responsible for the promotion of degeneracy were, well, responsible for just that regarding modern/post-modern/contemporary art.
Now, in the same way as society will not get better until we better understand what produces good societies and good people, and move towards it, art will not get better until we begin rejecting the modern”aesthetic” and replacing it with work of unquestionable, obvious quality. Before we can replace, we must understand and appreciate to the greatest possible extent the merit, skill, and spiritual significance of the art of aeons past, whether that art be paintings, sculptures, architecture, opera, orchestral music, or any other artform that has been ravaged then abandoned by the scourge of nihilistic modernity. I suspect, even, that the answer to the religious problem for many in the Alt-Right sphere and, eventually, in the somewhat Godless West, could be answered by art and the natural connection it forms between us and God.