Dance The Night Of The Senses Away

 rumi1

8384433007_2862d161e5_z

Whoever wants to become a Christian must first become a poet. – St. Pophyrios of Kavsokalyvia

St. Porphyrios made this statement in the context of love and suffering:

That’s what it is! You must suffer. You must love and suffer–suffer for the one you love. Love makes effort for the loved one. She runs all through the night; she stays awake; she stains her feet with blood in order to meet her beloved. She makes sacrifices and disregards all impediments, threats, and difficulties for the sake of the loved one. Love towards Christ is something even higher, infinitely higher.

This is a rich image of the poet – or what can drive us both to poetry as well as theology. In the history of the Church, a number of the greatest theologians have also been poets. St. Gregory the Theologian, St. Gregory of Nyssa, St. John of Damascus, St. Isaac of Syria, St. Ephrem of Edessa – the list goes on and on – all joined theology to poetic endeavor. When we include the fact that the bulk of Orthodox theology is to be found in the hymns of the Church, we have to admit that the heart of the poet and the heart of the theologian are much the same thing.  (1)

*

Let us now feast on some exquisite food of the spirit, let us receive excess of saints’ poetry, let us all get drunk with the Spirit! (cf. Twelfth Night Act 1, scene 1, 1–3). St. Gregory of Nyssa, St. Gregory the Theologian, St John Damascene, and above all, St. Symeon the New Theologian will open out to us vistas of “that unseeable beauty, that unapproachable light, that unbearable glory”, such as we had never known before!

*

everything that is hurt,

everything
 that seemed to us dark,

harsh, shameful, 
maimed, ugly, irreparably
 damaged,

is in Him transformed

 and recognized as whole,

as lovely, 
and radiant in His light!

*

icon3

St Gregory of Nyssa

On Virginity

“… What, what is Virtue, but repose of mind?

A pure ethereal calm that knows no storm,

Above the reach of wild ambition’s wind,

Above the passions that this world deform,

And torture man, a proud malignant worm.”

*

icon2

St. Gregory the Theologian

Prayer

Flee swiftly from my heart, all-crafty one.

Flee from my members and from my life.

Deceiver, serpent, and fire, Belial, sin,

death, abyss, dragon, night, snare, and frenzy,

chaos, manslayer, and ferocious beast!

Thou didst entice into perdition those

first-formed folk, my foreparents, offering them

at the same time the taste of sin and death.

Christ, the Ruler of all commandeth thee to

flee into the billows, to fall upon the rocks,

or to enter the herd of swine, O baleful one,

as once He bade that presumptuous Legion.

Nay, yield forthwith, lest I smite thee with the Cross,

whereat all things tremble;

Oh, flee!

I bear the Cross upon me, in all my members.

I bear the Cross whene’er I journey, whene’er I sleep.

I hold the Cross in my heart. The Cross is my glory.

O mischievous one, wilt thou never cease from

dogging me with traps and laying snares for me?

Wilt thou not dash thyself upon the precipices?

Seest thou not Sodom? Oh, wilt thou not speedily

assail the shameless herds of ungodly heretics,

who, having so recklessly sundered the Almighty

Godhead, have witlessly destroyed and abolished It?

But comest thou against my hoariness? Comest thou

against my lowly heart? Thou ever blackenest me,

O foe, with darksome thoughts, pernicious thoughts.

Thou hast no fear of God, nor of His Priests.

This mind of mine, most evil one, was verily

a mighty and loud-voiced herald of the Trinity.

And now it beholdeth its end, whither it goeth in haste.

Confuse me not, O slimy one, that I might, as pristine,

meet the pure lights of Heaven, that they might

shine like lightning flashes upon my life.

Lo, receive me; lo, I stretch forth my hands.

Farewell, O world! Farewell, thou who bringest woes upon me!

Pity be shown to all that shall live after me.

Dirge

Woe is me! Just now that I press forward

to Heaven, to the place of God, alas!

This body of mine encompasseth me.

Neither is there an end to this much-erring life,

nor yet to loathsome evil, which bindeth me fast

here below, and woundeth me from every side,

smiting me with unexpected cares that consume

the beauty and grace of my soul.

Nonetheless, O my God, King of all,

loose me swiftly from these earthly fetters,

and enroll me henceforth in the celestial choirs. (2)

*

St John Damascene

The Funeral Hymns 

icon1

[Icon above: The Astonishment of Sisoes | Contemplating Death, staring over the dead bones of Alexander the Great]

St. Sisoi’s icon (below) is to be found in the Monastery of Varlaam, Meteora (central Greece). It depicts a unique theme, whereby St. Siois is mourning in front of Alexander the Great’s tomb, the most famous Greek king ever to have lived.

“A tomb now suffices him for whom the world was not enough.”  [Alexander’s tombstone epitaph]

*

Tone I

Where is the pleasure in life which is unmixed with sorrow? Where the glory which on earth has stood firm and unchanged? All things are weaker than shadow, all more illusive than dreams; comes one fell stroke, and Death in turn, prevails over all these vanities. Wherefore in the Light, O Christ, of Your countenance, the sweetness of Your beauty, to him (her) whom You have chosen grant repose, for You are the Friend of Mankind.

Tone 2

Like a blossom that wastes away, and like a dream that passes and is gone, so is every mortal into dust resolved; but again, when the trumpet sounds its call, as though at a quaking of the earth, all the dead shall arise and go forth to meet You, O Christ our God: on that day, O Lord, for him (her) whom You have withdrawn from among us appoint a place in the tentings of Your Saints;yea, for the spirit of Your servant, O Christ.

Another in Tone 2

Alas! What an agony the soul endures when from the body it is parting; how many are her tears for weeping, but there is none that will show compassion: unto the angels she turns with downcast eyes; useless are her supplications; and unto men she extends her imploring hands, but finds none to bring her rescue. Thus, my beloved brethren, let us all ponder well how brief is the span of our life; and peaceful rest for him (her) that now is gone, let us ask of Christ, and also His abundant mercy for our souls.

icon5

 Tone 3

Vanity are all the works and quests of man, and they have no being after death has come; our wealth is with us no longer. How can our glory go with us? For when death has come all these things are vanished clean away. Wherefore to Christ the Immortal King let us cry, “To him (her) that has departed grant repose where a home is prepared for all those whose hearts You have filled with gladness.”

 Tone 4

Terror truly past compare is by the mystery of death inspired; now the soul and the body part, disjoined by resistless might, and their concord is broken; and the bond of nature which made them live and grow as one, now by the edict of God is rest in twain. Wherefore now we implore Your aid grant that Your servant now gone to rest where the just that are Yours abide, Life-bestower and Friend of Mankind.

 Tone 4

Where is now our affection for earthly things? Where is now the alluring pomp of transient questing? Where is now our gold, and our silver? Where is now the surging crowd of domestics, and their busy cries? All is dust, all is ashes, all is shadow. Wherefore draw near that we may cry to our immortal King, “Lord, Your everlasting blessings vouchsafe unto him (her) that now has gone away. bringing him (her) to repose in that blessedness which never grows old.”

(c) Ferens Art Gallery; Supplied by The Public Catalogue Foundation

Tone 5

I Called to mind the Prophet who shouted, “I am but earth and ash.” And once again I looked with attention on the tombs, and I saw the bones therein which of flesh were naked; and I said, “Which indeed is he that is king? Or which is soldier? Which is the wealthy, which the needy? Which the righteous, or which the sinner?” But to Your servant, O Lord, grant that with the righteous he (she) may repose.

Tone 6

My beginning and foundation was the form;bestowing Word of Your commandment; for it pleased You to make me by compounding visible and invisible nature into a living thing. out of earth was my body formed and made, but a soul You gave me by the Divine and Life-creating In; breathing. Wherefore, O Christ, to Your servant in the land of the living, in the courts of the righteous, do You grant repose.

 Tone 7

Bring to his (her) rest, O our Savior, You giver of life, our brother (sister) whom You have withdrawn from this transient world, for he (she) lifts up his (her) voice to cry: “Glory to You.”

 Another in Tone 7

When in Your own image and likeness You in the beginning did create and fashion man, You gave him a home in Paradise, and made him the chief of your creation. But by the devil’s envy, alas, beguiled to eat the fruit forbidden, transgressor then of Your commandments he became; wherefore back to earth, from which he first was taken, You did sentence him to return again, O Lord, and to pray You to give him rest.

icon7

[Icon above: The Canon of Pascha, a composition by John of Damascus.]

Plagal of the Fourth Tone

Weep, and with tears lament when with understanding I think on death, and see how in the graves there sleeps the beauty which once for us was fashioned in the image of God, but now is shapeless, ignoble, and bare of all the graces. O how strange a thing; what is this mystery which concerns us humans? Why were we given up to decay? And why to death united in wedlock? Truly, as it is written, these things come to pass by ordinance of God, Who to him (her) now gone gives rest

 Glory to the Father and to the Son and to the Holy Spirit.

The death which You have endured, O Lord, is become the harbinger of deathlessness; if You had not been laid in Your tomb, then would not the gates of Paradise have been opened;wherefore to him (her) now gone from us give rest, for You are the Friend of Mankind.

 Both now and ever and to the ages of ages. Amen.

Virgin chaste and holy, Gateway of the Word, Mother of our God, make supplication that his (her) soul find mercy.

*

Listen to a selection of these Funeral Hymns chanted in a Mt Athos, Byzantine style by Apostolos Hill (Hymns of Paradise) at https://www.youtube.com/watch?v=qSBh6Iabe68 , https://www.youtube.com/watch?v=2vtNuI8Wj3g , https://www.youtube.com/watch?v=y7iXu2yO7Lc

icon9

[Icon above: Cure of Saint John Damascene]

The story behind the texts of the Funeral Service is very moving: St. John was once a powerful and wise member of the royal court. He however abandoned all this and became a monk. “Only once did John disobey the instructions that were his rule of life in the monastery. A fellow monk had lost his brother and could not be consoled. Knowing of John’s ability to compose music and poetry, he begged him to write a funeral hymn for his dead brother. Because his elder had left the monastery for a few days, John refused, for he had agreed to do nothing without the elder’s direction and consent. Finally, however, he felt so sorry for the bereaved monk that he consented, and wrote one of his most beautiful hymns–which has become part of the Orthodox funeral service. The monk was very moved by the lovely hymn and thanked John for helping him in his grief.

*

But when the elder returned and heard of John’s deed, he wanted nothing more to do with him for he had disobeyed his rule. John begged the elder to forgive him, but to no avail. The other monks also petitioned the older monk to take him back, even if it meant giving John a penance. The elder finally relented. He gave him the worst job in the monastery, cleaning the lavatories, and also forbid him to write any more hymns. John accepted gratefully and willingly carried out all his duties.

*

One night the elder had a vision. The mother of God appeared to him in a dream and said: “Why have you sealed the spring of fresh water for which the whole world is thirsty? Let it pour freely and comfort those in need. Let John praise God through his songs.” The elder then realized that he had dealt wrongly with John and hurried to him, asking forgiveness for his sternness and bluntness. He knelt and bowed low before John to beg his pardon. The talent which had been given to John could now be used to the glory of God.”

*

There is also another very moving story about St. John Damascene and the Icon of Theotokos with three Hands! St. John Damascene was the great defender of icons. Because of his defense of the holy images and because of his great ability as a writer, the order was given by the iconoclasts that his right hand be cut off at the wrist. St. John asked for the severed hand and prayed before the icon known as the Hodegetria or She Who Shows the Way. Asking fervently that his hand might be restored, he fell asleep exhausted.

*

Virgin Mary came to him in a dream; when awoke his hand was miraculously restored with only a red line showing.  In gratitude, St. John composed the hymn “In thee, O Full of Grace, all creation rejoices” The icon before which St. John prayed exists to this day on Mount Athos in the Hilander Monastery. It is called Tricherousa, or Panagia “Of  Three Hands” due to the silver hand which St. John placed on the icon as a testament to the above miracle.

icon10

*

St. Symeon the New Theologian

How are You at once the source of fire

How are You at once the source of fire,

how also the fountain of dew?

How at once burning and sweetness,

how a remedy for all disease?

How do You make gods of us men,

how do You make darkness light?

How do You make one reascend from Hell,

how do You make us mortals imperishable?

How do You draw darkness to light,

how do You triumph over night?

How do You illumine the heart?

how do You transform me entirely?

How do You become one with men,

how do You make them sons of God?

icon11

In the midst of that night, in my darkness

by Symeon the New Theologian

In the midst of that night, in my darkness,

I saw the awesome sight of Christ

opening the heavens for me.

And he bent down to me and showed himself to me

with the Father and the Holy Spirit

in the thrice holy light

–
a single light in three,

and a threefold light in one,

for they are altogether light,

and the three are but one light,.

And he illumined my soul

more radiantly than the sun,

and he lit up my mind,

which had until then been in darkness.

Never before had my mind seen such things.

I was blind, you should know it,

and I saw nothing.

That was why this strange wonder

was so astonishing to me,

when Christ, as it were,

opened the eye of my mind,

when he gave me sight, as it were,

and it was him that I saw.

He is Light within Light,

who appears
 to those

who contemplate him,

and contemplatives see him in light

–
see him, that is, in the light of the Spirit…

And now, as if from far off,

I still see that unseeable beauty,

that unapproachable light,

that unbearable glory.

My mind is completely astounded.

I tremble with fear.

Is this a small taste from the abyss,

which like a drop of water

serves to make all water

knowing all its qualities and aspects?…

I found him, the One

whom I had seen from afar,

the one whom Stephen saw

when the heavens opened,

and later whose vision blinded Paul.

Truly, he was as a fire

in the center of my heart.

I was outside myself, broken down, lost to myself,

and unable to bear

the unendurable brightness of that glory.

And so, I turned

and fled into the night of the senses.

icon12

 

O totally strange and inexpressible marvel!

by Symeon the New Theologian

O totally strange and inexpressible marvel!

Because of my infinite richness I am a needy person

and imagine to have nothing,

when I possess so much,

and I say: “I am thirsty,”

through superabundance of the waters

and “who will give me,”

that which I possess in abundance,

and “where will I find,”

the One whom I see each day.

“How will I lay hold of,”

the One who is within me,

and beyond the world,

since he is completely invisible? (4)

icon13

The fire rises in me

by Symeon the New Theologian

The fire rises in me,

and lights up my heart.

Like the sun!

Like the golden disk!

Opening, expanding, radiant —

Yes!
     a flame!

I say again:

I don’t know

what to say!

I’d fall silent

If only I could

but this marvel

makes my heart leap,

it leaves me open mouthed

like a fool,

urging me

to summon words

from my silence.

icon14

We awaken in Christ’s body

by Symeon the New Theologian

We awaken in Christ’s body

as Christ awakens our bodies,

and my poor hand is Christ,

He enters
 my foot,

and is infinitely me.

I move my hand,

and wonderfully

my hand becomes Christ,

becomes all of Him

(for God is indivisibly 
whole,

seamless in His Godhood).

I move my foot,

and at once
He appears

like a flash of lightning.

Do my words seem blasphemous?

Then 
open your heart to Him

and let yourself receive the one

who is opening to you so deeply.

For if we genuinely love Him,

we wake up inside Christ’s body

where all our body, all over,

every most hidden part of it,

is realized in joy as Him,

and He makes us, utterly, real,

and everything that is hurt,

everything
 that seemed to us dark,

harsh, shameful,
maimed, ugly, irreparably
 damaged,

is in Him transformed

 and recognized as whole,

as lovely, 
and radiant in His light

he awakens as the Beloved

in every last part of our body.

icon16

You, oh Christ, are the Kingdom of Heaven

by Symeon the New Theologian

You, oh Christ, are the Kingdom of Heaven;

You, the land promised to the gentle;

You the grazing lands of paradise;

You, the hall of the celestial banquet;

You, the ineffable marriage chamber;

You the table set for all,

You the bread of life;

You, the unheard of drink;

You, both the urn for the water

and the life-giving water;

You, moreover, the inextinguishable lamp

for each one of the saints;

You, the garment and the crown

and the one who distributes crowns;

You, the joy and the rest;

You, the delight and glory;

You the gaiety;

You, the mirth;

and Your grace,

grace of the Spirit of all sanctity,

will shine like the sun in all the saints;

and You, inaccessible sun,

will shine in their midst

and all will shine brightly,

to the degree of their faith,

their asceticism,

their hope

and their love,

their purification

and their illumination

by Your Spirit.

 

Sources:

(1) For the full article “The Poetry of God” by 

(2) Our Father among the Saints Gregory of Nazianzos, the Theologian: Selected verses from his poetry translated metrically into Modern Greek by Alexandros Moraïtides (in Greek) (Athens: Ekdosis I.N. Sideres, n.d.), Vol. II. [The original poems are found in Patrologia Græca, Vol. XXXVII, cols. 1399A-1401A (Poem LV); cols. 1384A-1385A (Poem XLIX) — trans.]

(3) The hymns by St. John of Damascus, taken from http://www.goarch.org/chapel/liturgical_texts/funeral2

(4) Original Language Greek; English version by George A. Maloney, S.J., Ivan M. Granger, Stephen Mitchell. Source: http://www.poetry-chaikhana.com/Poets/S/SymeontheNew/

“Soma Christou”

*

The Eastern Orthodox Churches have preserved the early Church’s practice of Infant Communion

*

Canvas Bloodily Immolated on Calvary

david jones3

*

Time is Ripe for a David Jones Revival, the long neglected figure in the history of British Modernism. Poet and visual artist, draughtsman, printmaker, illustrator, painter, engraver, calligrapher and a genuine 20th-century visionary, David Jones’ (1895-1974) creative life was largely determined by two experiences. During World War I he served on the Western Front, an event that he regarded as epic and imbued with religious, moral and mythic overtones, in which Divine Grace manifested a continual presence. The second experience was his conversion to Roman Catholicism in 1921.

*

david jones

*

David Jones served in the trenches as a Private soldier from 1915 until 1918, was wounded at The Battle of The Somme, and spent more time on active service than any of the other First World War poets. He began writing poetry more than ten years after the 1918 Armstice, publishing his first major work in 1937. He continued painting, drawing and writing poetry throughout his comparatively long life in between episodes of depression caused by what would now be called post traumatic stress. He called his illness “Rosi”, referring almost fondly to the “rosi” in “neurosis”.

*

David-Jones-Elephant-1928-National-Museum-of-Wales

*

One of the most intense of his wartime recollections was of watching a Catholic mass for the first time. He was out alone in the Ypres sector scrounging for firewood in the woods when he became aware of a mass in progress in a ruined farmhouse. He watched the proceedings through a chink in the wall. He spotted the priest “in a gilt‑hued planeta, two points of flickering candlelight, white altar cloths and a few huddled figures in khaki”. The matter of factness of the scene impressed him. This almost businesslike routine had been going on for centuries. In 1921 Jones converted to Roman Catholicism. He said that “the mass makes sense of everything” and much of his poetry and paintings are religious, biblical and liturgical.

david jones 21

*

After his conversion and for the rest of his life, Jones regarded his artistic and poetic vocation as a kind of priesthood, living and working very simply and alone. Despite all this acclaim, Jones was a humble man who never sought fame, which is probably just as well. For his last 20 years, until his death in 1974, he inhabited a single room in Harrow, welcoming visitors but otherwise pursuing his work in isolation. He called that room his “dug-out”, but in truth it was a monastic cell.

*

David-Jones-The-Dove

*

We need to view him as fundamentally a maker. He formed things with his hands as he shaped things in his mind, combining the visual and verbal with creative intensity not seen in Britain since the time of William Blake.

*

Jones visualized his Art as sacramental, holding affinities to the sacrament of the Eucharist: “the insistence that painting must be a thing and not the impression of something has affinity with what the Church said of the mass, that what was oblated under the species of bread and wine at the supper was the same thing as what was bloodily immolated on Calvary”.

*

trustees of the David Jones estate; (c) A. J. Hyne; Supplied by The Public Catalogue Foundation

*

When Igor Stravinsky made his last visit to England, he declared that it was largely a pilgrimage to visit David Jones. He visited him in the 1950s in the boarding house in Harrow, where he lived from 1947, after his second breakdown, until 1964. According to Stephen Spender, he remarked that it was ‘like visiting a holy man in his cell’. Recounting the same visit, Spender pictures Jones as a figure of saintly innocence, playing ‘a worn record of plain-song Gregorian chant […] with hands clasped across his knees and an expression of bliss on his face’.

*

The Chapel in the Park, 1932

*

The Chapel in the Park 1932 David Jones 1895-1974 Purchased 1940 http://www.tate.org.uk/art/work/N05054

*

TS Eliot regarded In Parenthesis, Jones’s modernist poetry/prose epic, dramatising, distilling and mythologising his experiences on the Western Front during the First World War, as “a work of genius”. Auden similarly judged The Anathemata, published in 1957, as “very probably the finest long poem to be written in English this century”. Nonetheless, I personally find David Jones’ poetry highly rewarding, yet forbidding in its complexity, so, I’d rather dwell on some of this unworldly figure’s and visionary artist’s paintings which I find absolutely fascinating.

*

Sanctus Christus de Capel-y-ffin, 1925

*

Sanctus Christus de Capel-y-ffin 1925 David Jones 1895-1974 Presented by the Friends of the Tate Gallery 1983 http://www.tate.org.uk/art/work/T03677

*

Capel-y-ffin was the former monastery in the Monmouthshire Black Mountains where Eric Gill and his family moved in August 1924. David Jones first visited them there the following December, and the building at the left of this drawing loosely resembles the monastery, in its winter landscape. Eric Rowan (loc.cit.) compares this drawing to a wall painting of the Crucifixion made by David Jones at Capel-y-ffin in the same winter.

*

The Garden Enclosed

*

david jones 13

*

After he was received into the Roman Catholic church in 1921, Jones went to live with the artist Eric Gill and his family. The two figures in this picture represent Jones, and Gill’s daughter Petra. The picture was painted to mark their engagement in June 1924, when Petra was not quite eighteen. The title alludes to the Song of Solomon, chapter 4, v.12 ‘A garden inclosed is my sister, my spouse’. An enclosed garden is also frequently used as a symbol for the virginity of the Virgin Mary. The geese, sacred to the classical goddess Juno and associated with young girls, flee from the embracing couple, alarmed by their passion. The doll on the ground may symbolise lost childhood.

*

Aphrodite in Aulis 1940–1

*

Aphrodite in Aulis 1940-1 David Jones 1895-1974 Purchased 1976 http://www.tate.org.uk/art/work/T02036

*

After fighting in the First World War, Jones went to art school in 1918. Long enthusiastic about Blake, in 1943 Jones saw Blake’s Body of Abel, shown in this display, much enlarged at a lantern slide lecture. His awareness of Blake’s ‘overwhelmimg’ qualities grew. As a watercolourist, engraver and poet, Jones has obvious affinities with Blake. Aphrodite was drawn during the Second World War. Its Classical and Christian allusions are comparable with Blake’s use of art when commenting on contemporary events. Aphrodite in Aulis fuses Christian and pagan energies, combining redemptive sacrifice with sexual bounty. The Greek goddess of love and fertility, chained to an altar, is flanked by a British and German soldier.

*

Illustration to the Arthurian Legend: Guenever, 1938–40

*

Illustration to the Arthurian Legend: Guenever 1938-40 David Jones 1895-1974 Purchased 1941 http://www.tate.org.uk/art/work/N05315

*

This drawing, which was done at Sidmouth, is an illustration to an episode in the ‘Book of Sir Launcelot and Queen Guenever’ in Malory’s Le Morte d’Arthur, Bk. XIX, Ch. 6. The artist has described the picture as follows (written statement of October 1958, in part based on a draft by Hugh Macandrew): ‘The traiterous Sir Meliagrance has captured Queen Guenever and her knights, and hearing of her abduction and the wounding and capture of her knights Sir Launcelot comes to her rescue. After being ambushed by the archers of Sir Meliagrance and enduring severe ordeal, shame and mischance Launcelot reaches the castle where the queen and her knights are captive. Meliagrance is in great fear and a kind of truce is arranged by the queen and Launcelot is admitted into the castle. When all are asleep Launcelot takes a ladder and, after breaking the window bars, climbs into the queen’s room.

*

‘The marks on Launcelot’s feet, like stigmata, show that the knight has suffered greatly both in his journey to the castle and also in breaking down the bars. Chrétien de Troyes says that Launcelot “cared not for his wounds in his hands and feet” which inevitably suggests the wounds of the Passion, hence the attitude of the crucified Christ as seen on the Crucifix above the queen’s head is echoed in the movements of Launcelot.

*

‘In this drawing and in “The Four Queens” there are fragments of a chapel and this chapel is in part associated with the ruined chapel of Capel-y-Ffin and in part with the church at Rock in Northumberland which appears in the Tate picture “The Chapel in the Park”. But in this Guenever picture it is seen as the, so to say, “garrison chapel” of the castle, the altar has been made ready for the next morning’s mass, with the mass-vestments laid out on it in the usual manner. In the Chrétien de Troyes version, when Launcelot approaches and leaves the queen’s bed he genuflects to her and the text says he does this “precisely as though he were before a shrine”. I think the association of these ideas may account, in part, for the inclusion of the altar. The St John’s Chapel in the Tower of London was also in mind.

*

‘The men of the garrison of the castle are symbolised by the gun-team asleep with their halberds against the wall on the right, in a recess to the right of the chapel. The figures in the foreground are the queen’s wounded knights and her two maids; everybody is asleep except the little cat which is jumping off the queen’s bed as the wounded feet of Sir Launcelot come forward from the broken window-bars.

*

llustration to the Arthurian Legend: The Four Queens Find Launcelot Sleeping, 1941

*

Illustration to the Arthurian Legend: The Four Queens Find Launcelot Sleeping 1941 David Jones 1895-1974 Purchased 1941 http://www.tate.org.uk/art/work/N05316

*

The stories of King Arthur and his knights had long been of interest to artists and writers as a remnant of a mysterious, lost national past. This drawing illustrates a passage in which Sir Launcelot is abducted by four queens. Launcelot, however, lies dreaming of his love, Queen Guinevere, who appears as a swan. The recumbent figure wears a German helmet and is deliberately reminiscent of the bodies of soldiers that Jones had seen on the battlefields of the 1914–18 war. Thus Medieval themes and styles are used to comment on more recent conflict.

*

Chalice with Flowers and Pepperpot, c.1954–5

*

Chalice with Flowers and Pepperpot circa 1954-5 David Jones 1895-1974 Purchased 1976 http://www.tate.org.uk/art/work/T02038

*

‘Chalice with Flowers and Pepperpot’ is one of a group of closely related watercolour drawings dating from the latter part of David Jones’s career. All feature a glass goblet or ‘chalice’ of flowers placed centrally on a table with various domestic objects assembled around. Lord Clark (in Agenda, op cit.) has characterised these flower paintings as follows: ‘Some of the finest of David Jones’s recent paintings are not of literary subjects but represent simply a vase of flowers on a table. A pleasant subject, but we are not for long under the illusion that this is an ordinary still life. The vase, broad and capacious like a Byzantine chalice of the 8th century, stands facing us on a plain table. Although no exclusively Christian symbol is visible, we have at once the feeling that this is an altar and that the flowers in some way represent part of the Eucharist. There are wine coloured carnations and ears of corn, thorny stems of roses and blood red petals which drop onto the small white table cloth. Yet none of this is insisted on, and we are far from the closed world of symbolism. Every flower is there for a dozen reasons, visual, iconographical or even on account of its name …’

*

For more David Jones, watch a slideshow of 21 paintings of his at  http://www.bbc.co.uk/arts/yourpaintings/artists/david-jones

and also visit Tate at http://www.tate.org.uk/art/artists/david-jones-1370

Mundi Peregrinatione

Explore in 360 degrees the Sistine Chapel, the Church of the Holy Sepulchre, and many more – all online.

http://www.vatican.va/various/cappelle/sistina_vr/index.html

Christians have been making pilgrimages to holy sites and churches around the world for centuries. Can’t make a pilgrimage? Here’s the next best thing!

Some tours are embedded on this page, while others can be found with the link provided.

Enjoy!

1) Sistine Chapel – Vatican City

 Maus-Trauden / Wikipedia
Maus-Trauden / Wikipedia

Built in the 15th century and painted in the 16th century, the Sistine Chapel is one of the great artistic masterpieces in the world. Michelangelo painted the ceiling and the Last Judgement fresco, while the frescoes on the other walls were painted by a number of other artists. Among other things, the Sistine Chapel serves as the location for conclaves of Cardinals that elect new popes.

This one can only be viewed on the Vatican website, so click on the picture or on the link to check it out.

LinkStart the tour!

http://www.vatican.va/various/cappelle/sistina_vr/

http://www.vatican.va/various/cappelle/sistina_vr/

2) Church of the Holy Sepulchre – Jerusalem

Jorge Láscar / Flickr
Jorge Láscar / Flickr

Located in Old Jerusalem, the Church of Holy Sepulchre is venerated by Christians for containing within its space what is believed to be the places of Jesus’ death, burial, and resurrection – which makes it pretty important! The original church was built in the 4th century under Constantine but has endured several rounds of extensive damage and restoration since.

LinkStart the tour! (here’s another virtual tour of the same place)

http://www.holysepulchre.custodia.org/default.asp?id=4098

http://www.holysepulchre.custodia.org/default.asp?id=4098

3) St. Basil’s Cathedral – Moscow, Russia

michael clarke stuff / Wikimedia Commons
michael clarke stuff / Wikimedia Commons

Not to be confused with the Kremlin (which is nearby), St. Basil’s Cathedral was built in the 16th century on orders from Ivan the Terrible and served as a Russian Orthodox cathedral for centuries until it was confiscated and forcibly secularized in the late 1920s by the Soviet Union. It remains property of the Russian government today and is used as a museum.

LinkStart the tour! (Note: the virtual tour can take a little bit of time to load.)

http://en.ria.ru/infographics/20110903/166323377.html

http://en.ria.ru/infographics/20110903/166323377.html

4) Basilica of St. Peter – Vatican City

Public Domain / Wikipedia
Public Domain / Wikipedia

This great wonder of the world was built in the 16th century in the midst of the Protestant reformation, replacing the aging church that had stood on that site since the 4th century. The largest church in the world, it is built on top of what is believed to be the grave of St. Peter, the first pope.

LinkStart the tour!

http://www.vatican.va/various/basiliche/san_pietro/vr_tour/Media/VR/St_Peter_Altar/index.html

http://www.vatican.va/various/basiliche/san_pietro/vr_tour/Media/VR/St_Peter_Altar/index.html

5) Church of the Nativity – Bethlehem, West Bank

young shanahan / Flickr
young shanahan / Flickr

Church of the Nativity is located on the place that Christians have traditionally believed that Jesus was born. The first church was built in the 4th century under Constantine but was destroyed by fire and then rebuilt in the 6th century. Since then it has gone through numerous restorations, additions, etc. Roman Catholic, Greek Orthodox and Armenian Apostolic representatives run and maintain the current church.

LinkStart the tour!

http://www.bethlehem.custodia.org/default.asp?id=455

http://www.bethlehem.custodia.org/default.asp?id=455

6) Cathedral of St. Paul, National Shrine of the Apostle Paul – St. Paul, MN

Jeremy Noble / Wikimedia Commons
Jeremy Noble / Wikimedia Commons

Atop the highest hill in the Twin Cities (with the Minnesota state capital just a bit lower down the street!), the St. Paul Cathedral is everything you’d expect of a beautiful European cathedral – except that it’s in the U.S.! It’s the third largest completed church in the U.S., and the fourth tallest. Built in the early 20th century, it is a co-cathedral with the Basilica of St. Mary (see #6) for the Catholic Archdiocese of St. Paul/Minneapolis.

https://www.google.com/maps/@44.9469453,-93.1090568,3a,75y,262.12h,114.8t/data=!3m7!1e1!3m5!1sU1_gbXFY_AG2EOYw2_51-Q!2e0!3e2!7i13312!8i6656?hl=en-US

7) Basilica of St. Mary – Minneapolis, MN

Beatrice Murch / Wikimedia Commons
Beatrice Murch / Wikimedia Commons

Built in the early 20th century, the Basilica of St. Mary was the first church designated a basilica in the U.S., and serves as a co-cathedral with the Cathedral of St. Paul for the Catholic Archdiocese of St. Paul/Minneapolis.

https://www.google.com/maps/@44.9731394,-93.2863352,3a,75y,357.32h,90t/data=!3m7!1e1!3m5!1si0wv1yLqYgqL0xnh6PB72w!2e0!3e2!7i13312!8i6656?hl=en-US

8) Canterbury Cathedral – Canterbury, England 

Hans Musil, Wikipedia
Hans Musil, Wikipedia

When was Canterbury Cathedral built? That’s a hard question to answer, since different parts of the current structure were built, torn down, rebuilt, added on, etc over nine centuries, from the 10th to the 19th, with the site having been used as a cathedral since the 6th century. During the Protestant reformation in the 16th century, the Church of England took control of the church from the Roman Catholic Church.

LinkStart the tour!

http://www.canterbury-cathedral.org/visit/tour/
http://www.canterbury-cathedral.org/visit/tour/

9) Exeter Cathedral – Exeter, England

WyrdLight.com / Antony McCallum / Wikipedia
WyrdLight.com / Antony McCallum / Wikipedia

Built from the 12th century to the 15th century, Exeter Cathedral serves as the seat of the Anglican bishop of Exeter. Among its large collection of relics, the church has what is supposedly the Burning Bush, as well as part of a candle used by an angel in Christ’s tomb. Like the Canterbury Cathedral, Exeter Cathedral was originally a Roman Catholic cathedral, but was acquired by the Church of England in the 16th century.

LinkStart the tour!

http://www.peterstephens.co.uk/virtual_tours/exeter-cathedral/2012/virtualtour.html
http://www.peterstephens.co.uk/virtual_tours/exeter-cathedral/2012/virtualtour.html

10) St. Patrick’s Cathedral – New York City, NY

Mr. Kjetil Ree / Wikimedia Commons
Mr. Kjetil Ree / Wikimedia Commons

Directly across the street from Rockefeller Center in the middle of New York City, St. Patrick’s Cathedral was built in the 19th century when midtown wasn’t as populated, and its large size dominated the area. Construction began in 1858, paused during the Civil War, and was finished in 1878. Further work was done in the early 20th century, and it was named a National Historic Site in 1976. It is currently used as the seat of the Catholic Archbishop of New York.

https://www.google.com/maps/@40.7586705,-73.9765313,3a,75y,111.35h,82.11t/data=!3m7!1e1!3m5!1sE_1fHJcwaJp2kITv5ZMA-A!2e0!3e2!7i13312!8i6656?hl=en-US

11) Cathedral Basilica of Our Lady of Chartres – Chartres, France

Olvr / Wikipedia
Olvr / Wikipedia

Built mostly in the 13th century, Chartres Cathedral is the latest of at least five churches that have stood in its location. Amazingly, most of the stained glass in the church is original. Among its many boasts, the church claims to have the Sancta Camisa, the tunic worn by the Blessed Virgin Mary at the birth of Jesus. It is still the seat of the Catholic bishop of Chartres.

LinkStart the tour!

http://mappinggothic.org/archmap/media/buildings/001000/1107/panos/1107_vr_00004.swf
http://mappinggothic.org/archmap/media/buildings/001000/1107/panos/1107_vr_00004.swf

12) Basilica of the National Shrine of the Immaculate Conception – Washington D.C.

AgnosticPreachersKid / Wikipedia
AgnosticPreachersKid / Wikipedia

Located on the campus of Catholic University of America in Washington D.C., the Basilica of the Shrine of the Immaculate Conception “is the largest Catholic church in the United States, the largest church of any kind in the western hemisphere, the eighth largest church building in the world, and the tallest habitable building in Washington, D.C.” Construction began in 1920, but wasn’t completed until 1961 due to the Great Depression and WWII. Even so, significant additions have been made as recently as 2012. In addition to a beautiful array of images of the Blessed Virgin Mary from different cultures, the basilica houses the papal tiara of Pope Paul VI.

LinkStart the tour!

http://www.nationalshrine.com/site/c.osJRKVPBJnH/b.5842239/k.A7C7/Virtual_Tour_360.htm
http://www.nationalshrine.com/site/c.osJRKVPBJnH/b.5842239/k.A7C7/Virtual_Tour_360.htm

Source: 12 Amazing Virtual Tours of the World’s Most Spectacular Churches

http://www.churchpop.com/2014/08/10/12-amazing-virtual-tours-of-the-worlds-most-spectacular-churches/

Chalices Of Flesh And Bones

“God’s presence sanctifies all. Space and time – the dull and superficial space and time of our daily lives – are sanctified by Christ’s presence. Think of that this Sunday, when your priest comes out of the Altar holding the chalice with the Holy Gifts and calls you to approach Him, Who is ‘our sanctification.’

mull1

Once you have consumed Christ, you are the new chalice, a chalice made of flesh and bones carrying the same Precious, Life-Giving Mysteries. You become a mobile chalice that goes out of the church into the streets and shops and offices of this world. You become a mobile chalice, taking Christ to face His creation, giving this creation the chance to respond to His presence and find itself in Him. …”

By Father Seraphim Aldea, priest of the Monastery of All Celtic Saints on Mull

Read the full post at http://www.mullmonastery.com/monastery-blog/chalices-of-flesh-and-bones/

Listen to Father Seraphim at the Ancient Faith podcast series  “Through a Monk’s Eyes” ‘Looking at the World from the Celtic Shores of Scotland — and Elsewhere’ at http://www.ancientfaith.com/podcasts/monkseyes  Have you ever wondered what the world looks like through a monk’s eyes? Priest-monk Seraphim shares his stories of the places he visits and the people he meets as he travels the world to found the first Orthodox monastery in the Celtic Isles of Scotland in a thousand years. The Monastery is dedicated to All Celtic Saints.

Remove The Sandals From Your Feet

land1

Hurt not the earth, neither the sea, nor the trees.

— Revelation 7:3

trees50

The saints embrace the whole world with their love.

— St. Silouan the Athonite

On the Holy Mountain of Athos, the monks sometimes put up beside the forest paths special signposts, offering encouragement or warning to the pilgrim as he passes. One such notice used to give me particular pleasure. Its message was brief and clear: “Love the trees.”

tree63

Fr. Amphilochios, the geronta or “elder” on the island of Patmos when I first stayed there, would have been in full agreement. “Do you know,” he said, “that God gave us one more commandment, which is not recorded in Scripture? It is the commandment “love the trees.” Whoever does not love trees, so he believed, does not love God. “When you plant a tree,” he insisted, “you plant hope, you plant peace, you plant love, and you will receive God’s blessing.” An ecologist long before ecology had become fashionable, when hearing confessions of the local farmers he used to assign to them a penance, the task of planting a tree. During the long summer drought, he himself went round the island watering the young trees. …

tree11

Fr. Amphilochios was by no means the first spiritual teacher in the modern Greek tradition to recognize the importance of trees. Two centuries earlier, the Athonite monk St. Kosmas the Aetolian, martyred in 1779, used to plant trees as he traveled around Greece on his missionary journeys, and in one of his “prophecies” he stated, “People will remain poor, because they have no love for trees.” We can see that prophecy fulfilled today in all too many parts of the world. …

tree13

“Love the trees.” Why should we do so? Is there indeed a connection between love of trees and love of God? How far is it true that a failure to reverence and honor our natural environment — animals, trees, earth, fire, air, and water — is also, in an immediate and soul-destroying way, a failure to reverence and honor the living God?

tree12

Let us begin with two visions of a tree. Edward Carpenter, in Pagan and Christian Creeds [records] a partial vision of a tree. “It was a beech, standing somewhat isolated, and still leafless in quite early Spring. Suddenly, I was aware of its skyward-reaching arms and up-turned finger-tips, as if some vivid life (or electricity) was streaming through them far into the spaces of heaven, and of its roots plunged in the earth and drawing the same energies from below. The day was quite still and there was no movement in the branches, but in that moment the tree was no longer a separate or separable organism, but a vast being ramifying far into space, sharing and uniting the life of Earth and Sky, and full of amazement.”

tree1              tree2

… Two things above all are noteworthy in Edward Carpenter’s “partial vision.” First, the tree is alive, vibrant with what he calls “energies” or “electricity”; it is “full of most amazing activity.” Second, the tree is cosmic in its dimensions: it is not “a separate or separable organism” but is “vast” and all-embracing in its scope, “ramifying far into space … uniting the life of Earth and Sky.” Here is a vision of joyful wonder, inspired by an underlying sense of mystery. The tree has become a symbol pointing beyond itself, a sacrament that embodies some deep secret at the heart of the universe. The same sense of wonder and mystery — of the symbolic and sacramental character of the world — is strikingly manifest in Peaks and Llamas , the master-work of that spiritual mountaineer, Marco Pallis.

tree61

Yet there are at the same time certain limitations in Carpenter’s tree-vision. The mystery to which the tree points is not spelt out by him in specifically personal terms. He makes no attempt to ascend through the creation to the Creator. …

tree100

Let us turn to a second tree-vision, which is by contrast explicitly personal and theophanic: “Moses was keeping the flock of his father-in-law Jethro, the priest of Midian; he led his flock beyond the wilderness, and came to Horeb, the mountain of God. There the angel of the Lord appeared to him in a flame of fire out of a bush; he looked, and the bush was blazing, yet it was not consumed. Then Moses said, “I must turn aside and look at this great sight, and see why the bush is not burned up.” When the Lord saw that he had turned aside to see, God called to him out of the bush, “Moses, Moses!” And he said, “Here I am.” Then He said, “Come no closer! Remove the sandals from your feet, for the place on which you are standing is holy ground.” He said further, “I am the God of your Father, the God of Abraham, the God of Isaac, and the God of Jacob.” And Moses hid his face, for he was afraid to look at God.”  (Ex 3:1-6)

tree68

Comparing the experience of Moses with that of Carpenter, we observe three things: in the first place, the vision described in Exodus reaches out beyond the realm of the impersonal. The burning bush at Horeb acts as the locus of an interpersonal encounter, of a meeting face-to-face, of a dialogue between two subjects. God calls out to Moses by name, “Moses, Moses!” and Moses responds, “Here I am.” “Through the creation to the Creator”: in and through the tree he beholds, Moses enters into communion with the living God.

land2

In the second place, God does not only appear to Moses but also issues a practical command to him: “Remove the sandals from your feet.” According to Greek Fathers such as St. Gregory of Nyssa, sandals or shoes — being made from the skins of dead animals — are something lifeless, inert, dead and earthly, and so they symbolize the heaviness, weariness, and mortality that assail our human nature as a result of the Fall.

tree99

“Remove your sandals,” then, may be understood to signify: Strip off from yourself the deadness of familiarity and boredom; free yourself from the lifelessness of the trivial, the mechanical, the repetitive; wake up, open your eyes, cleanse the doors of your perception, look and see! And what, in the third place, happens to us when in this manner we strip off the dead skins of boredom and triviality? At once we realize the truth of God’s next words to Moses: “The place on which you are standing is holy ground.” Set free from spiritual deadness, awakening from sleep, opening our eyes both outwardly and inwardly, we look upon the world around us in a different way.

tree6

So we enter the dimensions of sacred space and sacred time. We discern the great within the small, the extraordinary within the ordinary, “a world in a grain of sand … and eternity in an hour,” to quote Blake once more. This place where I am, this tree, this animal, this person to whom I am speaking, this moment of time through which I am living: each is holy, each is unique and unrepeatable, and each is therefore infinite in value.

tree8

Combining Edward Carpenter’s living tree, uniting earth and heaven and the burning bush of Moses, we can see emerging a precise and distinctive conception of the universe. Nature is sacred. The world is a sacrament of the divine presence, a means of communion with God. The environment consists not in dead matter but in living relationship. The entire cosmos is one vast burning bush, permeated by the fire of divine power and glory. …

*

For more Orthodox ecology of Transfiguration, theophanic transparency, pellucid double vision and Zen ‘haeccitas’, read the full article THROUGH CREATION TO THE CREATOR by Bishop Kallistos of Diokleia

 at http://incommunion.org/2004/12/11/through-creation-to-the-creator/

His Body a Prayer a Crossbeam

mull seamus1

  heamus2

       

St Kevin and the Blackbird (1996)

By Seamus Heaney

And then there was St Kevin and the blackbird.
The saint is kneeling, arms stretched out, inside
His cell, but the cell is narrow, so

*

One turned-up palm is out the window, stiff
As a crossbeam, when a blackbird lands
And lays in it and settles down to nest.

*

Kevin feels the warm eggs, the small breast, the tucked
Neat head and claws and, finding himself linked
Into the network of eternal life,

*

Is moved to pity: now he must hold his hand
Like a branch out in the sun and rain for weeks
Until the young are hatched and fledged and flown.

*

And since the whole thing’s imagined anyhow,
Imagine being Kevin. Which is he?
Self-forgetful or in agony all the time

*

From the neck on out down through his hurting forearms?
Are his fingers sleeping? Does he still feel his knees?
Or has the shut-eyed blank of underearth

*

Crept up through him? Is there distance in his head?
Alone and mirrored clear in love’s deep river,
‘To labour and not to seek reward,’ he prays,

*

A prayer his body makes entirely
For he has forgotten self, forgotten bird
And on the riverbank forgotten the river’s name.

*
The Spirit Level (1996)

st kevin1

seamus3

seamus6

seamus7

 

*

The Irish poet’s and Nobel Laureate’s, Seamus Heaney’s, extract from his Nobel prize speech, drawing a parallel between his labour as a poet in modern society and Saint Kevin’s labour of love, “to labour and not to seek reward”:

“Which is why for years I was bowed to the desk like some monk bowed over his prie-dieu … Then finally and happily, and not in obedience to the dolorous circumstances of my native place but in despite of them, I straightened up.  … I shall try to represent the import of that changed orientation with a story out of Ireland.
*
This is a story about another monk holding himself up valiantly in the posture of endurance. It is said that once upon a time St. Kevin was kneeling with his arms stretched out in the form of a cross in Glendalough, a monastic site not too far from where we lived in Co. Wicklow, a place which to this day is one of the most wooded and watery retreats in the whole of the country. Anyhow, as Kevin knelt and prayed, a blackbird mistook his outstretched hand for some kind of roost and swooped down upon it, laid a clutch of eggs in it and proceeded to nest in it as if it were the branch of a tree. Then, overcome with pity and constrained by his faith to love the life in all creatures great and small, Kevin stayed immobile for hours and days and nights and weeks, holding out his hand until the eggs hatched and the fledglings grew wings, true to life if subversive of common sense, at the intersection of natural process and the glimpsed ideal, at one and the same time a signpost and a reminder. Manifesting that order of poetry where we can at last grow up to that which we stored up as we grew.” (1)

seamus5

st kevin3

st kevin5

St Kevin of Glendalough, Wonder-worker of Ireland (also Coemgen, Caoimhghin, Coemgenus, and Kavin) is a Celtic saint, venerated in the Roman Catholic Church, the Eastern Orthodox Church and the Anglican Communion. He was the abbot of Glendalough Monastery. He was born in 498, and fell asleep in the Lord in 618 at the age of 120 years. His feast day is celebrated on June 3. The icons suggest St. Kevin’s preference for the life of solitude, penance and prayer of a hermit, and also his affinity with nature and his love for animals and birds.

st kevin2

The well known story of the black bird in his hand is a verbal image of his reverence for creation, while the fawn at St. Kevin’s feet is a symbol of his own gentle peaceful nature. … The deer recalls the providence of God who through a doe provided milk for a child Kevin had fostered, and at the same time reminds us of the deer in the psalms, who is the image of the soul that yearns for God – the living water. … The salmon again emphasizes for us the care of the Creator who provided for the monks of the nearby monastery, a salmon sufficient for their daily meal. It also recalls that the fish (ICTHUS) is an ancient symbol of the incarnation of Christ. … The cow highlights God’s providence, since it is recorded that a white cow brought milk each day to feed the infant Kevin.  … There is also the otter that rescued Kevin’s breviary from the lake and retrieved it undamaged and brought him fish also brought fish for his monastery. (2)

st kevin4

Sources:

(1) Excerpt from Seamus Heaney’s Nobel Lecture. For the full text go to  http://www.nobelprize.org/nobel_prizes/literature/laureates/1995/heaney-lecture.html

(2) http://www.glendaloughhermitage.ie/hermitage/st-kevins-parish-church/icon-of-st-kevin-caoimhin/ and http://orthodoxwiki.org/Kevin_of_Glendalough

Beauty Spirit Matter: The Theology of An Icon

richyoungruler In-Depth Insights Into The ‘Writing’ of An Icon

“… This spring, I received an email from an American client which left me both intrigued and slightly anxious. Would I like to paint a new icon depicting Christ’s interaction with the Rich Young Ruler described in each of the Synoptic Gospels? Yes, of course!

*

… I had heard this story before of course – it is the moment when Christ says “it is easier for a camel to pass through the eye of a needle than for a rich man to enter Heaven”. Like many Christians I was both baffled by the imagery but also struck by a few words in the sentence before, when we hear “Christ looked at the young man and warmed to him”. Does this mean that before this moment, Christ had not felt warmth – or love – for this rich young person? What changed for Christ in that moment that it is marked in the gospel? My client was very clear that THIS was the moment to be shown in the icon – that second when we are told how Christ felt agape for this person who had approached him with such an important question.  In our correspondence, he said “The wealthy need a savior too, and they know it. Their spiritual position is precarious even if not their social and logistical position.”

*

image1

Initially I drew the figure of Jesus sitting – traditionally he would sit and the crowd would gather and sit around his feet. However, my client suggested both should be standing – this was a dynamic interaction between Christ and the Young Ruler, rather than a more simple ‘teaching’ scene. As we are told in the Gospel of St Mark:

As He was setting out on a journey, a man ran up to Him and knelt before Him, and asked Him, “Good Teacher, what shall I do to inherit eternal life?” And Jesus said to him, “Why do you call me good? No one is good except God alone. You know the commandments, ‘Do not murder, Do not commit adultery, Do not steal, Do not bear false witness, Do not defraud, Honor your father and mother.’” And he said to Him, “Teacher, I have kept all these things from my youth up.”  Looking at him, Jesus felt a love for him and said to him, “One thing you lack: go and sell all you possess and give to the poor, and you will have treasure in heaven; and come, follow Me.”  But at these words he was saddened, and he went away grieving, for he was one who owned much property.

*

And Jesus, looking around, said to His disciples, “How hard it will be for those who are wealthy to enter the kingdom of God!” The disciples were amazed at His words. But Jesus answered again and said to them, “Children, how hard it is to enter the kingdom of God!  It is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God.” They were even more astonished and said to Him, “Then who can be saved?” Looking at them, Jesus said, “With man it is impossible, but not with God; for all things are possible with God.”

*

Christ is ever so slightly taller, as He is mature in body and of course His Divine Nature. He is clothed traditionally, with the red robe of His human nature adorned by the blue outer garment of His Divinity. He is shown with a clear, compassionate expression – with His right hand He blesses and I chose that His left hand should be open, extending towards this young man who has come seeking His teaching on life and how to be saved. It is not a begging, not a pleading – it is an open, loving invitation to the young man (and all of us). “Here, take my hand, and I will lead you into Paradise”. He is shown not quite standing, not quite moving – Christ was about to leave at the end of a long time answering, telling parables, teaching. Yet He hesitates, having heard the direct question and honest response of this wealthy young man.

image3

image5

The Young Ruler is, obviously, dressed very differently. My client and I discussed at length how we could show his material prosperity and how that should be illustrated. Garish colours? Gold and jewels? Furs even? It was very tempting to have some real ‘fun’ with this ensemble, to communicate just how extravagant his wealthy behaviour had become. And yet there is nothing intrinsically wrong with his wealth – it is a fact of his life, like brown hair or a straight nose. I felt that although he was rich, he was not intrinsically ‘bad’ or even tasteless  …

image4

I sat down and gazed at the form of the young man. I had spent hours drawing him, over and over, until I got the combination of supplication, enquiry and so on, combined with the transformed nature of the icon as right as I could. I knew that I wanted him to be bright. Yet as I sat there, I knew that, underneath the almost turquoise terre verte I wanted for his robe, there must also be a deep layer of azurite – the same as Christ’s robe. Here was a young man who wants to be saved, who wants to be with Christ – and yet he already is with Christ, and he already partakes of that Divinity in his person by virtue of being human and therefore already formed in God’s likeness and image. I had to find a way to show that all humanity, whether rich or poor, is a part of God’s likeness and that his wealth was no bar to this – if only he (and we) can recognise it.

*

This led to a slightly different choice for his cloak – the inner red, which grabs our attention here, and on his delicately shod feet is a genuine (and poisonous) vermillion. This is the most intense colour I ever use and it certainly grabs attention. Who other than a very rich person would travel with such impractical, highly decorative garments? His shoes illustrate that he does not have to walk for miles; he rides a fine horse or is perhaps carried on a litter. His cloak is sewn with pearls and yet they would not help protect him from weather; this is all about displaying status, like designer labels in our day perhaps. His hem and crown are both gold, as is the decorative panel on his cloak. However, you might be wondering why I didn’t use real gold, as there is lots of gold leaf on the background of the panel.

image6

Gold, in an icon, is not used to depict the metal gold on this earth (or not solely that). In this instance, the gold in background is a 23 ½ carat gold leaf, double layered over a red clay base. As simply put as possible, the gold is the presence of the unseen God “in whom we live and move and have our being”. He is closer to us than our own breath and yet cannot be seen with eyes. This gold is a reminder of that presence and part of the ‘transfigured reality’ that icons show us.

*

When gold is used on a garment, it is not to show itself but the light of divinity transforming material, fabric, garments, just as Christ’s robes were transfigured on Mt Tabor; the Light of God transforms the very matter around us as far as we are able to see it. So the lines of gold on the robe of the Virgin Mary, the lines of gold on the robe of an infant Christ etc., all are signs of the indwelling of God possible within His good creation when it is transmuted by His presence and in the fullness of its potential reality.

The crown, hem and cloak are therefore painted with a bright Italian yellow ochre to illustrate the decorative nature of his garments but not their essence. They are finely figured in the Byzantine style of the 12th-13th centuries and, I hope, communicate how wealthy this person would have been to wear such finery.

image7

…. Behind Christ, there is in the distance a waterfall – He is the life-giving water which not only quenches all who thirst but is so essential for life in the hot, desert country where this icon will live. Around Christ’s feet, there are a few native plants from the Colorado region as well – Columbine, blanket flower and a reference to Christ as the vine.

*

There is also an element of ‘sacred geometry’ involved. Between the figures, one can see the shape of a chalice. There is a Communion taking place between Christ and this rich young ruler, similar to the Eucharist celebrated daily in churches throughout the world. A similar chalice shape exists in the Rublev Holy Trinity, which I was studying at the time.

*

I was sad to complete this icon. I am always reluctant to let them go, having been blessed by spending so many hours in prayer with them and getting to know the Saints or the passage of the Gospel in this case. But I am more delighted than I can say to know that it is going to be shared with so many who wish to bring the Gospel and good news of Christ’s love to more in the community and that it will be so well cared for, and prayed with. I should perhaps say I feel sad, but also immensely blessed.”

For the complete article “A New Icon Composition: Christ and the Rich Young Ruler” by Katherine Sanders • October 9, 2015 • Orthodox Arts Journal go to http://www.orthodoxartsjournal.org/a-new-icon-composition-christ-and-the-rich-young-ruler/

In the Eye of the Storm

ocean

Silver Helix (1)

*

“Hell is empty and all the devils are here.” 

― William Shakespeare, The Tempest

storm1

*

There was once a wave in the ocean, rolling along, enjoying the warmth of the sun and the swiftness of the breeze.

It smiled at everything around it as it made its way toward the shore.

But then, it suddenly noticed that the waves in front of it, one by one, were striking against the cliff face, being savagely broken to pieces.

‘Oh God!’ it cried. ‘My end will be just like theirs. Soon I, too, will crash and disappear!’

Just then another wave passing by saw the first wave’s panic and asked:

‘Why are you so anxious? Look how beautiful the weather is, see the sun, feel the breeze…’

The first wave replied:

‘Don’t you see? See how violently those waves before us strike against the cliff, look at the terrible way they disappear. We’ll soon become nothing just like them.’

‘Oh, but you don’t understand,’ the second wave said.

‘You’re not a wave. You’re a part of the ocean.’ (2)

*

storm0

*

Katsushika Hokusai’s Under the Wave off Kanagawa, also called The Great Wave has became one of the most famous works of art in the world—and debatably the most iconic work of Japanese art. The Great Wave is part of the legendary series Thirty-six Views of Mount Fuji. (3) “The preeminence of The Great Wave —said to have inspired both Debussy’s La Mer and Rilke’s Der Berg—can be attributed, in addition to its sheer graphic beauty, to the compelling force of the contrast between the wave and the mountain. The turbulent wave seems to tower above the viewer, whereas the tiny stable pyramid of Mount Fuji—Japan’s sacred, national symbol of Beauty, Spirituality and Immortality–sits in the distance. The eternal mountain is envisioned in a single moment frozen in time.

*

Hokusai characteristically cast a traditional theme in a novel interpretation. In the traditional meisho-e (scene of a famous place), Mount Fuji was always the focus of the composition. Hokusai inventively inverted this formula and positioned a small Mount Fuji within the midst of a thundering seascape. Foundering among the great waves are three boats thought to be barges conveying fish from the southern islands of Edo.” Nonetheless, “Hokusai has arranged the composition to frame Mount Fuji. The curves of the wave and hull of one boat dip down just low enough to allow the base of Mount Fuji to be visible, and the white top of the great wave creates a diagonal line that leads the viewers eye directly to the peak of the mountain top.”(4)

*

To the Japanese eye, accustomed to reading from right to left—the great claw of a wave appears almost to tumble into the viewer’s face, the surging breakers may seem to swamp the boaters, even Mount Fuji appears fragile, about to be engulfed by the uncontrollable energy of the water, and still  the humans in their tiny boats “doomed” to perish in the sea do not look panicked! On the contrary, they look like hanging to their rows in full discipline. It looks like they are experienced and know how to cope with such a situation. (5)

 

storm2

 

 

 

 

 

 

 

 

 

 

 

 

 

Jennifer Rundlett, a fellow blogger, sees “through” its art “the many trials of life and how overwhelming we often find them, being so focused battling our problems, and trying not to be consumed by them”, whereas “the wave is pointing our eye to [Mount Fugi] the focal point or meaning….that beauty and immortality is in how we ride out these storms.” (6)

*

This Japanese painting brought to my mind an English Romanticist, William Turner’s famous seas, stormy skies, sinking ships and tempests studies, with a very different theme to Hokusai’s.

storm5

*

The power of the storm versus man’s inabilities was a main theme in Turner’s work. Dreadful catastrophe was a common theme in English romantic art period and Turner specifically painted themes of shipwreck a number of times throughout his life, exploring the effects of an elemental vortex. The romantics had taken a liking to natural phenomena and shipwreck became a popular subject. 19th century Britain specifically was very familiar with shipwreck as it was a period of great English shipping.  … The craftsmanship of these ships did not deter the fact that the man made vessel was still at the mercy of the wind.

*

storm3

*

Let us have a good look at Turner’s most famous storm painting: The Snow Storm – Steam-Boat off a Harbour’s Mouth (1842), http://www.tate.org.uk/art/work/N00530 Snow Storm – Steam-Boat off a Harbour’s Mouth shows a ship off the English coast struggling to persevere through a storm.  The steam-boat resides in the center of the vortex.   Turner’s untamed brushwork creates a swirling composition of chaotic colors and lighting. The swirling storm creates a composition that leaves the eye to circle around the canvas repeatedly. The black of the wind and the waves of the sea create a circle around the doomed ship. Through the windy peephole, the viewer can see the helpless ship at the mercy of nature’s violent motion. One can imagine the ship swaying to and fro as its crew desperately tries to take control of the sail and stay afloat. In this context the vessel can be interpreted as a symbol of mankind’s futile efforts to combat the forces of nature. 

*

Snow Storm - Steam-Boat off a Harbour's Mouth exhibited 1842 Joseph Mallord William Turner 1775-1851 Accepted by the nation as part of the Turner Bequest 1856 http://www.tate.org.uk/art/work/N00530

*

In Snow Storm – Steam-Boat off a Harbour’s Mouth Turner uses a muted color palette. Pale blues and deep browns cover the canvas in swirling motions. Though the palette is predominately neutral, which usually creates a calming tone, the swirling motions and lighting create the chaotic effect Turner was going for. He wanted to simulate the true nature of a storm at sea. The bright white of the sail draws the eye directly to the ship, even amidst the swarming colors around it. Turner creates a pocket of light amidst a dark and shadowy canvas to illuminate the ship. Since he lights the ship in such a way, all focus is immediately drawn to the ship. The shadowing swirling winds only emphasize the ship more. The focus is relentlessly on the plight of the ship. This painting clearly invokes fear in a man or keeps him in his place as the weaker.  Here the emphasis is on the raw, merciless force of Nature and Man’s frailty and helplessness. (7)

*

It is famously said that Turner conceived this image while lashed to the mast of a ship during an actual storm at sea to get a better account of the wind and ocean and what the ship must’ve felt like in the midst of it. This seems to be nothing more than fiction, but the story has endured as a way of demonstrating Turner’s full-blooded engagement with the world around him, and is stunningly dramatized in the famous Mast scene of the mesmerising, highly maginative and richly detailed 19th century period biopic Mr Turner (2014) https://www.youtube.com/watch?v=lYN6HwLSvyg

*

Khalil Gibran  makes ample use of the “storm/sea/wave” imagery in “The Prophet” and explains how we all are “travellers” and “navigators” in the sea of life, our “pain being the breaking of the shell that encloses [our] understanding”. (8)

*

storm10

*

For an auditory raw, rough storm experience, let us not forget Aretha Franklin’s duet with Joe Ligon in the old time gospel  “I’ve Been In The Storm Too Long ” https://www.youtube.com/watch?v=YUujg0BTIjk&list=PLkGwJ-k-JlPEDnwXWd5RDpNmjbUa0fi6y

“I’ve been in the storm… too long, Lord too long
mmmmm… I’ve been in the storm… too Long, Lord too long
Lord, please let me…have a little more time, I need a little more time to pray
Oooh…I’ve been in the storm too long…”

storm7

Jesus walks on water, by Ivan Aivazovsky (1888)

*

Yet, whether competent or helpless, I personally want to bring God in all these “storms”. So that I can walk on the water, towards Him, and when I see “the wind boisterous, … [am] afraid; and beginning to sink”, I can cry “saying, Lord, save me.” And He immediately will stretch forth His hand, and catch me, and say unto me, ‘O thou of little faith, wherefore didst thou doubt?’ (Matthew 14:29-31, KJB) And He will still the storm–within and without my mind–to a whisper and hush the waves of the ‘sea’  (Psalm 107:29) and (Mark 4:39).

 

*

storm1

Christ walking on the sea, by Amédée Varint

storm9

François Boucher Cathédrale Saint-Louis (1766) Versailles

storm20

Walking on water, by Veneziano, 1370.

OLYMPUS DIGITAL CAMERA

storm40

storm50

*

Sources:

  1. “I Capture The Majestic Power Of Ocean Waves”, amazing collection of underwater vortex and wave photographs at http://www.boredpanda.com/moments-in-the-ocean-images-created-from-water-light/
  2. “The missing rose” by Serdar Ozkan, cf. Paulo Coehlo’s blog http://paulocoelhoblog.com/2014/03/21/30-sec-read-you-are-not-a-wave/
  3. For the full collection, go to http://Source: https://en.wikipedia.org/wiki/Thirty-six_Views_of_Mount_Fuji
  4. The Metropolitan Museum of Art at http://www.metmuseum.org/toah/works-of-art/JP1847 For more analysis, watch Thompson, curator of the Hokusai exhibition at the Museum of Fine Arts, Boston, delving into the story behind this world famous print  at https://www.youtube.com/watch?v=dbPHPfVw6zQ
  5. https://www.khanacademy.org/humanities/art-asia/art-japan/edo-period/a/hokusai-under-the-wave-off-kanagawa-the-great-wave and http://www.artic.edu/aic/collections/artwork/24645 and http://www.artelino.com/articles/the-great-wave.asp
  6. For more details, go to her inspirational blog site, dedicated to sharing with insights of God’s love through meditations using art and music, at https://jrundlett.wordpress.com/2014/03/09/new-perspectives-god-given-problems/
  7. http://www.artble.com/artists/joseph_mallord_william_turner/paintings/snow_storm_-_steam-boat_off_a_harbour’s_mouth
  8.  Lebanese-American artist, poet (1883 – 1931), chiefly known in the English-speaking world for his 1923 book The Prophet, an early example of inspirational fiction, including a series of philosophical essays written in poetic English prose, and the third best-selling poet of all time, behind Shakespeare and Lao-Tzu or Lao-Tze.

New Martyrs. New Mob. New Hollow Men.

HollowMen

“One of the women looked up and seemed to be almost smiling as she said, ‘Jesus!'” (1)

*

They are the “new martyrs” and sadly, we are the “new mob”, “we are the hollow men”.

*

“I’ve learnt something important from the horrors of the last few weeks. As I pray for the Christians in Mosul, it becomes clear to me that I need their prayers more than they need mine. … I thank God for the humbling gift of allowing me to witness these new martyrs walking on their way to salvation before my very eyes. … We are witnessing the birth of holiness; we are part of a miracle.” (2)

*

The Hollow Men by T. S. Eliot

*

We are the hollow men

… Alas!

Our dried voices, when

We whisper together

Are quiet and meaningless

As …

rats’ feet over broken glass

In our dry cellar…

*

This is the way the world ends
 (3)

Not with a bang but a whimper.

*

Watch Marlon Brando legendary reading of “The Hollow Men” in Francis Ford Coppola’s and Stanley Kubrick’s groundbreaking classic Apocalypse Now (1979) at https://www.youtube.com/watch?v=IPeHO1r8paU and also listen to T. S. Eliot himself reading it in his own unforgettable manner at https://www.youtube.com/watch?v=5fu8awT5Jzs

*

(1) http://www.christiantoday.com/article/isis.executes.12.christiansincluding.boy.and.2.women.who.were.raped.in.public.and.beheadedfor.refusing.to.renounce.jesus/66532.htm

(2) For the full article “NEW MARTYRS. NEW MOB” go to Father Seraphim’s last year blog entry at http://www.mullmonastery.com/uncategorized/new-martyrs-new-mob/, ” still timely, with the ever-rising wave of genocidal persecution of Christians by Muslims.