Seeing Your Glory (Artful Devotion)

Velasco, Leandro Miguel_Transfiguration of the Lord
Leandro Miguel Velasco (Colombian, 1933–), The Transfiguration of the Lord. Mural, Great Upper Church Sacristy, Basilica of the National Shrine of the Immaculate Conception, Washington, DC. Photo: Fr. Lawrence Lew, OP.

And after six days Jesus took with him Peter and James, and John his brother, and led them up a high mountain by themselves. And he was transfigured before them, and his face shone like the sun, and his clothes became white as light. And behold, there appeared to them Moses and Elijah, talking with him. And Peter said to Jesus, “Lord, it is good that we are here. If you wish, I will make three tents here, one for you and one for Moses and one for Elijah.” He was still speaking when, behold, a bright cloud overshadowed them, and a voice from the cloud said, “This is my beloved Son, with whom I am well pleased; listen to him.” When the disciples heard this, they fell on their faces and were terrified. But Jesus came and touched them, saying, “Rise, and have no fear.” And when they lifted up their eyes, they saw no one but Jesus only.

And as they were coming down the mountain, Jesus commanded them, “Tell no one the vision, until the Son of Man is raised from the dead.”

—Matthew 17:1–9

In the artwork above, Moses is shown on the left holding the Ten Commandments and representing the law, and Elijah, on the right, holds a scroll, representing the prophets; Jesus stands in the center, the fulfillment of both. The painted inscription inside the picture is, of course, Peter’s words to Jesus in Matthew 17:4. The carved inscription below, however, comes from an earlier passage in Matthew’s Gospel, 13:16–17, where Jesus says to his disciples, “Blessed are your eyes, for they see, and your ears, for they hear. For truly, I say to you, many prophets and righteous people longed to see what you see, and did not see it, and to hear what you hear, and did not hear it.”

This is one of several paintings by Leandro Miguel Velasco located in the sacristy of the Basilica of the National Shrine of the Immaculate Conception in Washington, DC. (He also designed, in 2006–7, the church’s Incarnation and Redemption dome mosaics, in a much different style.) The sacristy is the room where the priest and attendants vest and prepare before the service, and where they return their vestments and used liturgical vessels afterward. It is not accessible to the general public.

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SONG: “Transfiguration Hymn” | Words adapted by Jeffrey Cooper from the Collect of the Feast of the Transfiguration | Music by J.J. Wright | Performed by the J.J. Wright Trio (J.J. Wright on piano, Ike Sturm on bass, and Nate Wood on drums) and vocalists Sharon Harms and Ashley Daneman on Vespers for the Feast of the Transfiguration (2017)

Seeing your glory in the face of your Son,
Hearing his words, and knowing what he has done,
Now we pray that just what we behold
In him we may become.

That, as the prophets spoke in days long before,
We may be heirs through faith with him we adore:
With the Spirit and with you he reigns
Now and forevermore.

Find the full program of J.J. Wright’s Jazz Vespers service for the feast of the Transfiguration, including a lead sheet for this song and others, at http://www.transfigurationvespers.com/program.

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In many Protestant liturgical calendars, the last Sunday in the Epiphany season (this year, February 23) is known as Transfiguration Sunday. To view Artful Devotions from previous Transfiguration Sundays, see https://artandtheology.org/2019/02/26/radiant-artful-devotion/ and https://artandtheology.org/2018/02/06/light-of-knowledge-glory-artful-devotion/.


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Transfiguration Sunday, cycle A, click here.

God Who Saves (Artful Devotion)

Bearden, Romare_New Orleans, Ragging Home
Romare Bearden (American, 1912–1988), New Orleans: Ragging Home (from the Of the Blues series), 1974. Collage of plain, painted, and printed papers, with acrylic, lacquer, graphite, and marker, mounted on Masonite panel, 36 1/8 × 48 in. (91.8 × 121.9 cm). North Carolina Museum of Art, Raleigh. Photo: Victoria Emily Jones.

You will say in that day:

“I will give thanks to you, O LORD,
for though you were angry with me,
your anger turned away,
that you might comfort me.

“Behold, God is my salvation;
I will trust, and will not be afraid;
for the LORD GOD is my strength and my song,
and he has become my salvation.”

With joy you will draw water from the wells of salvation. And you will say in that day:

“Give thanks to the LORD,
call upon his name,
make known his deeds among the peoples,
proclaim that his name is exalted.

“Sing praises to the LORD, for he has done gloriously;
let this be made known in all the earth.
Shout, and sing for joy, O inhabitant of Zion,
for great in your midst is the Holy One of Israel.”

—Isaiah 12:1–6

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SONG: “Surely, It Is God Who Saves” | Text: Adapted from Canticle 9, “The First Song of Isaiah,” in the Book of Common Prayer (based on Isaiah 12:2–6) | Music by Uptown Worship Band, performed on Songs from Earth, Our Island Home (2014)

For another Artful Devotion featuring the Uptown Worship Band, see “Exalted Trinity.”


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Proper 28, cycle C, click here.

Like a Wildfire (Artful Devotion)

Pentecost by Solomon Raj
P. Solomon Raj (Indian, 1921–), Pentecost, 1980s. Batik.

. . . Then, like a wildfire, the Holy Spirit spread through their ranks, and they started speaking in a number of different languages as the Spirit prompted them. . . .

—Acts 2:3–4, The Message

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MUSIC: “The Elements: Fire” by Hiromi Uehara and Edmar Castaneda, on Live in Montreal (2017)

“Fire” is a collaborative composition and performance by Japanese jazz pianist Hiromi and Colombian jazz harpist Edmar Castaneda. Their virtuosity is amazing! And they have such a fun synergy on stage together.

“I was born to play the harp,” says Castaneda. “It is a gift from God, and like every gift from God, it has a purpose. The purpose of my music is to worship Him and bring his presence and unconditional love to people.”

Thanks to Global Christian Worship for introducing me to these music artists and to this piece in particular.

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Dr. P. Solomon Raj is a Lutheran theologian and visual artist from Andhra Pradesh, India. He works mainly in batik (a wax-resist method of dyeing cloth) and woodcut. He is ninety-eight years old.

View additional Pentecost artworks from Asia, by Raj and others, at https://artandtheology.org/2016/05/15/pentecost-art-from-asia/.

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O God, may the fire of the Holy Spirit burn up the dross in our hearts, warm them with love, and set them on fire with zeal for your service. Amen.

—Ancient Collect (source: The Hodder Book of Christian Prayers)


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for Pentecost, cycle C, click here.

Jubilee (Artful Devotion)

Jubilee by Steve Prince
Steve A. Prince, Jubilee. Linocut, 36 × 24 in.
Click on image to purchase.

And he [Jesus] came to Nazareth, where he had been brought up. And as was his custom, he went to the synagogue on the Sabbath day, and he stood up to read. And the scroll of the prophet Isaiah was given to him. He unrolled the scroll and found the place where it was written,

The Spirit of the Lord is upon me,
because he has anointed me
to proclaim good news to the poor.
He has sent me to proclaim liberty to the captives
and recovering of sight to the blind,
to set at liberty those who are oppressed,
to proclaim the year of the Lord’s favor.

And he rolled up the scroll and gave it back to the attendant and sat down. And the eyes of all in the synagogue were fixed on him. And he began to say to them, “Today this Scripture has been fulfilled in your hearing.”

—Luke 4:16–21

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In this passage from Sunday’s Gospel lectionary reading, Jesus enters his hometown synagogue in Nazareth and gives what is essentially his inaugural address, having recently been installed to public office by God (at his baptism) and now informing the people of his intentions as their new leader. His agenda is taken straight from Isaiah 61:1–2, and boils down to this: FREEDOM. That is his rallying cry.

“The year of the Lord’s favor,” or “the acceptable year of the Lord,” in Luke 4:19 refers to the Jubilee legislation God gave Israel, mandating that every fiftieth year, slaves were to be set free, debts canceled, and land wealth redistributed (see Leviticus 25). This ushering in of economic justice was most definitely “good news to the poor.” In his reading from the Isaiah scroll and his statement that “Today this Scripture has been fulfilled,” Jesus was calling for the celebration of the Year of Jubilee. And as we know from what follows in the Gospels, this Jubilee would be far more expansive than the one prescribed in Levitical law. Release from bondage, forgiveness of debts, restoration of what had been lost—there is, of course, still a material significance to these provisions, but there’s also a spiritual significance, in that through Christ, we are liberated from sin and ultimately brought back to the Garden in which we originally dwelt.

In ancient Israel, the semicentennial Jubilee Year was announced by the blowing of a shofar (ram’s horn) on the Day of Atonement. The Hebrew word for jubilee, yovel, actually means “ram’s horn”; in the Septuagint, yovel is translated multiple times as apheseos semasia (“trumpet blast of liberty”). The Latin form, jubilaeus, is influenced by the Latin jubilare, “to shout for joy.”

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Typically I make one music selection for the week’s Artful Devotion, but I couldn’t decide between these two—so you’re getting a twofer! I’d encourage you also to revisit “Jubilee” by the McIntosh County Shouters (which pairs splendidly with the Steve Prince linocut), featured in a previous roundup.

JAZZ INSTRUMENTAL: “Jubilee Stomp” by Duke Ellington, 1928

This track was recorded at Okeh studios in New York City on January 19, 1928. It features Duke Ellington on piano, Bubber Miley and Louis Metcalf on trumpet, Joe Nanton on trombone, Barney Bigard on clarinet and tenor sax, Harry Carney on alto sax and baritone sax, Fred Guy on banjo, Otto Hardwick on alto sax and bass sax, Wellman Braud on string bass, and Sonny Greer on drums.

GOSPEL-ROCK: “The Year of Jubilee” | Words by Charles Wesley, 1750 | Music by Kirk Ward, 2010

Blow ye the trumpet, blow! The gladly solemn sound
Let all the nations know, to earth’s remotest bound:
Jesus, our great high priest, has full atonement made;
You weary spirits, rest; you mournful souls, be glad.

Freedom! The year of jubilee is come;
Freedom! The year of jubilee is come;
Freedom! The year of jubilee is come;
Freedom! The year of jubilee is come;
You ransomed sinners, return, return home.

Extol the Lamb of God, the sacrificial Lamb;
Redemption through his blood throughout the world proclaim:
You slaves of sin and hell, your liberty receive;
And safe in Jesus dwell, and blessed in Jesus live.

You who have sold for naught your heritage above,
Receive it back unbought, the gift of Jesus’ love:
The gospel trumpet hear, the news of heavenly grace;
And, saved from earth, appear before your Savior’s face.

Hymnic poetry doesn’t get much better than that of Charles Wesley, and “Blow ye the trumpet, blow!” is no exception. I discovered this text through Kirk Ward, who wrote new music for it—a tune that is, in my opinion, far superior to the ca. 1782 tune by Lewis Edson that’s used in the hymnals of the United Methodist Church, the Orthodox Presbyterian Church, and others. Ward’s gospel-rock version of the hymn, which includes the addition of a chorus, is a congregational favorite at my little church in Maryland.

Describing his stylistic influences and aspirations, Ward writes:

I was thinking that the song would work well in a more 1960s style, civil rights era gospel-rock. I was thinking Sharon Jones and the Dap-Kings or Aloe Blacc, but the over-driven guitar sounds and my white boy vocals push it more toward something like Neil Young. Maybe one day, I’ll record it with horns and soul-power guitar riffs to get the sound I heard in my head. Regardless of the groove, my main goal was to get everyone shouting “FREEDOM!” at the top of their range.

As with all the songs posted on the New City Fellowship Music website, congregations are encouraged to freely use “The Year of Jubilee” in worship; an MP3 demo, lead sheet, and lyrics are provided for that purpose. I’d love to hear some full-band performances of this song online—if any exist, please post them in the comment field below. If you’re interested in making a commercial recording, contact Kirk Ward for permission.

(Related post: “And the Walls Came a-Tumblin’ Down,” commentary on a Steve Prince linocut from my collection)


This post belongs to the weekly series Artful Devotion. If you can’t view the music player in your email or RSS reader, try opening the post in your browser.

To view all the Revised Common Lectionary scripture readings for the Third Sunday after Epiphany, cycle C, click here.