Photo/Illutration Gold, silver and green ornaments glisten on a Christmas tree at Kachou Yukan in Igashira Park, Mooka, Tochigi Prefecture, on Dec. 7. (Yoichi Tsubura)

I feel the year-end approaching for real in Japan when I see pictures of Christmas cakes, along with “osechi” traditional New Year’s dishes, in advertisements reminding consumers that orders for these items are now being accepted for the upcoming holidays.

I have never really thought about the religious implication of this annual phenomenon. But this year, it’s different.

The reason is that I saw the other day a provocative exhibition on French history of religion and secularism.

Showing currently at the Utsunomiya Museum of Art and titled “Laicite et Art Francais: Lumieres de la Foi et de la Raison” (Literally, "Secularism and art in France: The lights of faith and reason"), it sheds light on the complex relationship between state and religion, and between politics and faith.

The word “laicite” here is to be understood in the context of France’s unique form of secularism, which is deeply ingrained in the nation’s history. As such, it implies an extremely rigid separation of church and state.

The concept originated with the French Revolution in the 18th century. Following the fall of the dynasty and the effective destruction of the Catholic Church, works of art in their possession were confiscated for public display.

That was how the Louvre Museum came into being.

Unfamiliar as the thought is in Japan, my understanding was nevertheless helped by the works on display at the museum.

Those by great masters such as Millet, Rouault and Utrillo could be appreciated in a new light after I learned of their backgrounds regarding politics, faith, patriotism and such.

The history of laicite, as we understand it today, is the outcome of intense conflicts and debates between church and the laity for mental or moral dominance.

In our secularized society, the museum plays an important role in deciding which works to display.

Kei Fujiwara, 38, the curator who planned the exhibition, said, “Precisely because we are in a religiously neutral position, we must re-examine the history of art and think critically.”

Christmas, “Joya no Kane” (the Buddhist rite of striking the temple bell 108 times at midnight on New Year’s Eve), and “Hatsumode” (visiting a Shinto shrine on New Year’s Day).

When all these came to be celebrated in Japan, was it because of the people’s indifference to religion?

I would rather like to think that this was a sign of their capacity for tolerance and understanding.

—The Asahi Shimbun, Dec. 16

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Vox Populi, Vox Dei is a popular daily column that takes up a wide range of topics, including culture, arts and social trends and developments. Written by veteran Asahi Shimbun writers, the column provides useful perspectives on and insights into contemporary Japan and its culture.