Thin Places

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  • Thin Places: “Thin Places,” comes from a Celtic Christian concept. The Celts believed that physical locations existed in which God’s presence was more accessible than elsewhere, places where heaven and earth seemed to touch, where the line between holy and human met for a moment, “the places in the world where the walls are weak”, “those rare locales where the distance between heaven and Earth collapses”, as Eric Weiner puts it in his spirituality travelogue, Man Seeks GodFor such a ‘thin place’ for me visit my blog post on the Holy and Life-Givng Cross Orthodox parish at Lancaster.

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“This is a difficult post for me to write … I have always believed that Art and Nature are two vital ways to make our  prayer come to life, two ways to lead us ‘into’ knowing God.  And yet, I feel God has offered me such a rare gift at the end of a very tough year that I need to give myself time to allow it to sink in before I fully understand what I was given. … I was on a day-tour of the Grand Canyon.

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The sense of unmanageable Beauty one has before the wilderness of the Grand Canyon is just that: a true revelation of God, a true revelation of the correct relationship we are to have with Him. When I was there, facing this extraordinary demonstration of what authentic creativity is, all I felt was silence: a thick blanket of silence that covered my heart, my brain, my body… Before God’s presence, one goes numb, afraid to even breathe, afraid to approach it or draw near in any way. My eye-sight is not worthy to touch such beauty, my voice is not real, authentic enough to even whisper a prayer; all of one’s senses go silent, paralysed before such overwhelming power.

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And yet, my heart continued to pray in a different way. Deep down, my being seems to hide a different kind of worship, a different kind of relating to Christ. I don’t know when and how I learnt it; it just exists, the way instincts simply exist. Before such beauty, one discovers how different we are from what we’ve learnt to think we are – we are so much deeper, so much more beautiful, so much more able to worship and truly pray. It’s as if we were created with a set of spiritual senses and abilities, which we later – for some painful reason – fail to recognise in ourselves and fail to develop. We waste so much of our own being, we are so removed, so distant from our real selves… We learn to adapt to this world, and we end up replacing our spiritual senses with material ones.

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Then, in moments like these, we find ourselves face to face with His presence, and a sort of engine just starts working again in our hearts – all by itself, with no input, no doing of our own.

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I was simply present; I was in awe at the presence of my true self as much as I rejoiced in God’s presence. There was nothing but silence in me; yet, this silence was as alive, as ‘eloquent’ in its worship as the most grace-filled moments I’ve been blessed with the Holy Altar.”

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Sculpting in Time

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This is Iconographer Andrei Rublev’s ( Андре́й Рублёв) famous work on the Trinity – Angels at Mamre ( Holy Trinity). For those of you familiar with his art, the colour explication that follows is superfluous. What I would really like to share with you is my (re)discovery of these colours yesterday through Tarkovsky‘s lens. These colours become so alive at the ending of his movie Andrei Rublev (1966) after three hours of black and white! Pay particular attention to https://www.youtube.com/watch?v=FsEbrhv2jGY, esp. 4:50′ to  8:00′.

For those of you who are not familiar with this icon, Rublev gives each person of the Trinity different clothing. On the right, the Holy Spirit has a garment of the clear blue of the sky, wrapped over with a robe of a fragile green. So the Spirit of creation moves in sky and water, breathes in heaven and earth. All living things owe their freshness to his touch. The green mantle of the Spirit, scintillating with light, is clearly a Rublev achievement. Green belongs to the Spirit because the Spirit is the source of life.

The Son has the deepest colors; a thick heavy garment of the reddish-brown of earth and a cloak of the blue of heaven. In his person he unites heaven and earth, the two natures are present in him, i.e., human and divine, (and this is why on the table are placed two of his fingers) and over his right shoulder (the Government shall be upon his shoulder) there is a band of gold shot through the earthly garment, as his divinity suffuses and transfigures his earthly being. The red signifies his earthly passion, and the gold band, his royal status as Christ the King.

The Father seems to wear all the colors in a kind of fabric that changes with the light, that seems transparent, that cannot be described or confined in words. The Father’s ghostly outer garment hints at his inconceivable divine nature. And this is how it should be. No one has seen the Father, but the vision of him fills the universe. His robe is iridescent, shifting from glowing golden-red to azure blue, a triumph of the painter’s art. “You robe yourself in light as in a garment” (Ps 104:2).

The wings of the angels or persons are gold. Their seats are gold. The chalice in the center is gold, and the roof of the house. Whether they sit, whether they fly, all is perfect, precious, and worthy. In stasis, when there is no activity apparent on the part of God, his way is golden. When he flies, blazes with power and unstoppable strength, his way is golden. And in the Sacrifice at the center of all things, his way is golden.

The light that shines around their heads is white, pure light. Gold is not enough to express the glory of God. Only light will do, and that same white becomes the holy table, the place of offering. God is revealed and disclosed here, at the heart, in the whiteness of untouchable light, the Uncreated Light.

For more information, go to:

https://www.youtube.com/watch?v=6g-DkKDQ_5g

https://www.youtube.com/watch?v=vOYFHbmmWZ0