Hilma af Klint’s Tree of Knowledge No. 5 (1913-1915) is a profound exploration of spiritual dualities and the nature of human understanding. Part of her series Tree of Knowledge, this painting delves into symbolic themes rooted in the idea of knowledge as both a path to enlightenment and a source of division. The image depicts a central tree-like form with intertwining branches and symmetrical shapes on each side, which evoke ideas of balance and duality. This work draws from the symbolic notion of the “Tree of Knowledge” as found in various religious and mythological traditions, where the pursuit of knowledge is associated with both divine insight and the complexities of human experience. In af Klint’s interpretation, this tree represents a journey of spiritual growth, with branches connecting realms of higher consciousness, suggesting a ladder-like progression through levels of understanding.
Af Klint’s creation of Tree of Knowledge No. 5 was deeply influenced by her belief in spiritual guidance and a process she considered beyond her conscious control. A committed member of the spiritualist group The Five, af Klint held regular seances where she believed she received messages from spirits who guided her work. These experiences convinced her that her art was divinely “commissioned” to communicate messages about the unseen dimensions of existence. In her spiritualist practice, she sought to channel higher wisdom through abstract forms rather than conventional, representational images. This approach made her work a unique fusion of artistic vision and spiritual revelation, allowing af Klint to express complex metaphysical ideas in a way that transcended the personal and touched upon universal truths.
The symbolism in Tree of Knowledge No. 5 is rich with esoteric meaning, with its colours, shapes, and composition carefully arranged to depict the contrasts and connections within spiritual dualities. The two halves of the painting mirror each other, perhaps signifying the opposing yet complementary forces that af Klint believed to be present in the universe—such as light and darkness, male and female, and good and evil. The central tree, a recurring motif in her work, may symbolise the connection between the earthly and the divine, suggesting that knowledge and enlightenment are bridges that link the physical with the spiritual realm. The painting’s vivid colours and geometric forms invite viewers to contemplate these dualities and to consider knowledge as a source of both unity and separation within the spiritual journey.
Hilma af Klint, a Swedish painter born in 1862, began her artistic career in traditional academic styles before moving into abstraction driven by her spiritual beliefs. She was one of the first artists to delve into non-representational art, a significant departure from the norms of her time. Af Klint’s interest in Theosophy and Anthroposophy, particularly the writings of Rudolf Steiner, informed her view of art as a conduit for spiritual messages. Steiner’s influence and her own spiritual explorations led her to see art as a bridge between the visible and invisible worlds, a philosophy that would define her work. Despite her revolutionary approach, af Klint chose not to exhibit her abstract paintings, fearing that the public would not understand them and believing they were meant for future audiences. Her work remained largely unknown until the later 20th century, by which time she was recognised as a true pioneer of abstract art.
Today, Tree of Knowledge No. 5 is celebrated not only for its aesthetic innovation but also for its deep spiritual resonance. Through its symbolic forms and rich colour palette, the painting invites viewers to reflect on their own path to knowledge and enlightenment, echoing af Klint’s belief in art as a transformative spiritual tool. The renewed interest in her work has brought attention to her unique role in the history of modern art, emphasising her contributions as both an artist and a visionary. Her paintings continue to inspire audiences to explore the unseen, revealing how her blend of spiritual philosophy and artistic experimentation was not only ground-breaking for her time but remains profoundly relevant to contemporary discussions of art, consciousness, and spirituality.
