strand of pearls,
lay yourself down
on a country pond
one at a time
. . . . . . . . . . .
. . . . . . . . . . . . . . . . .
dangle your golden earrings
never grow old
teach me to roam.
I will lift my eyes unto the hills
Whence cometh my help
My help cometh from the Lord
Who made heaven and earth
He will not allow my foot to stumble
For he’s always on my side
And he’ll guide me through all of the days of my life
Now and forevermore
Andy Zipf received this original song from his maternal grandfather, Donald Boyd (1919–1998), who, in addition to writing hymns, was the choir director of a church in Roland, Iowa, for fifty-one years. He had bought Zipf his first guitar and always encouraged him to sing. As a tribute to Grandpa Boyd and his formative impact, Zipf has made the song available for free download at Bandcamp.
The dusky, reverberant landscape painting Tomorrow will be the same but not as this is by Colin McCahon [previously] shows a sun setting behind a range of dark New Zealand hills, with a gray body suggesting water in the midground. Art critic Justin Paton surmises that the mysterious form in the upper left corner (which he jokingly calls “the windshield wiper of God”) is the tail of a cross, because McCahon did a whole series of drawings of flying crosses within landscapes.
“I think it’s a kind of resurrection painting,” Paton said in an RNZ Saturday Morning interview last November. “It’s talking about the way in which an immense spiritual event could shake your world, but then you go to bed and you wake up the next day. It is still the same world, but how has it altered?” Paton continues, “He [McCahon] deals in visions, he deals in miracles, he deals in cataclysmic and elating spiritual events, but it’s always earthed in the everyday—in a world we recognize, a world we can smell . . .” The medium in Tomorrow is commercial flooring paint mixed with sand.
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 Second Sunday of Lent, cycle A, click here.
The LORD is my shepherd; I shall not want.
He maketh me to lie down in green pastures:
he leadeth me beside the still waters.
He restoreth my soul . . .
Yea, though I walk through the valley of the shadow of death,
I will fear no evil:
for thou art with me;
thy rod and thy staff,
they comfort me.
—Psalm 23:1–3a, 4
MUSIC: “Sheep May Safely Graze,” from BWV 208 | Composed by Johann Sebastian Bach (1713) | Performed by London Symphony Orchestra, on Night in Berlin (2001)
The aria “Schafe können sicher weiden” (Sheep May Safely Graze) comprises the ninth movement of Bach’s Was mir behagt, ist nur die muntre Jagd (The Lively Hunt Is All My Heart’s Desire)—known informally as the Hunting Cantata. Written for the thirty-first birthday of Duke Christian of Saxe-Weissenfels, the cantata was performed as a surprise at a banquet at the ducal hunting lodge, and it’s full of flattery. The text of “Sheep May Safely Graze,” written by Solomon Franck, praises Christian for his wise, protective leadership (in actuality, he was a lousy ruler):
Sheep may safely graze and pasture
In a watchful shepherd’s sight.
Those who rule, with wisdom guiding,
Bring to hearts a peace abiding,
Bless a land with joy made bright.
At 1:31 in the above recording, you can hear potential danger lurking nearby, but the attentive shepherd neutralizes the threat, keeping safe his flock.
Bach originally scored this piece for soprano with two recorders and continuo, but it has since been transcribed for orchestra and countless other combinations of instruments and is most popular without words. I enjoy playing Egon Petri’s transcription for solo piano, performed here by Alessio Bax:
Its pastoral mood, befitting Psalm 23, and its celebration of a good shepherd’s care have led it to be applied to the Good Shepherd and performed in church services. I’ve even come across some piano arrangements that interfuse it with “Savior, Like a Shepherd Lead Us” (for an intermediate arrangement of such by Cindy Berry, see Classical Hymns).
ANNOTATED BIBLIOGRAPHY: “Art and theology” books published in 2017: I had fun compiling this book list for ArtWay, which spans the disciplines of art history, theological aesthetics, visual theology, philosophy, museum studies, liturgical studies, and Christian ministry. Let me know if I’m missing any titles. (For books published on art and theology between 2014 and 2016, click here.)
But there are also books that focus on the contemporary art world, encouraging Christians to engage works beyond just those with explicitly Christian content or just those made by Christians.
Several books published this year engage with the ideas of leading early Protestant theologians, like Luther, Calvin, and (later) Kuyper, as they relate to visual art, and one even examines Reformational influences on Michelangelo’s late work. A smorgasbord indeed!
Today is the seventh day of Christmas—the celebration continues! Here are two fun songs for your listening pleasure.
^^ “Angels We Have Heard on High,” arranged and performed by the Piano Guys: In this unique piano arrangement for eight hands, Jon Schmidt, Al van der Beek, Steven Sharp Nelson, and Paul Anderson strike, pluck, bow, and percuss the instrument, creating a more complex texture than you would expect. All the sounds you hear (except for the voices) are produced by the piano.
CALL FOR PAPERS: “Art as a Voice for the Church,”Princeton Theological Review: I regret not finding out about this opportunity earlier, as the due date is just a week away, but I’m posting it so that you can be sure to look out for this art and theology–themed issue in the spring!
Graduate students and early-career scholars are invited to submit papers to the spring 2018 edition of the Princeton Theological Review. We welcome papers from various disciplinary perspectives (theology, philosophy, church history, biblical studies, social sciences, etc.) as they relate to the theme of art and the church. How does theology manifest in all different forms of art (painting, poetry, photography, sculpture, music, theater, film, literature, dance, or any other creative endeavors)? How does artistic expression give voice to piety, critique, worship, or spiritual struggle? How has art influenced and been influenced by biblical interpretations, theological movements, historical context, or cultural conditions? Why is art such a powerful medium for Christian expression? All submissions are due January 8, 2018.
The current issue of PTR, released this fall, is on the same topic and is available for free download. Subtitled “A Festschrift for Gordon Graham,” it includes reflections by three leading thinkers on Professor Graham’s latest book, Philosophy, Art, and Religion: Understanding Faith and Creativity, as well as three essays: “Visual Images and Reformed Anxieties: Some Scottish Reflections” by David Ferguson; “The Scandal of the Evangelical Eye” by Matthew J. Milliner; and “God, One and Three—Artistic Struggles with the Trinity” by Gesa E. Thiessen. [HT: millinerd.com]
COMPANION EXHIBITIONS October 10, 2017–January 14, 2018 J. Paul Getty Museum, Los Angeles
“Sacred Landscapes: Nature in Renaissance Manuscripts”: “In Renaissance Europe, many people looked to nature for spiritual inspiration and to guide their contemplation of the divine. In manuscripts created for personal or communal devotion, elements of nature—such as rocks, trees, flowers, waterways, mountains, and even the atmosphere—add layers of meaning to the illuminations, which were painted with careful observation of every minute detail. These landscapes remind readers to appreciate, and respect, the wonder of creation.” Read more at The Iris, the blog maintained by Getty curators, educators, conservators, and other staff.
“Giovanni Bellini: Landscapes of Faith in Renaissance Venice”: “Giovanni Bellini’s evocative landscapes are as much the protagonists of his paintings as are the religious subjects that dominated 15th-century Italian art. One of the most influential painters of the Renaissance, he worked in and around Venice, and while his landscapes are highly metaphorical, they also accurately reflect the region’s topography and natural light. Created for sophisticated patrons, Bellini’s works present characters and symbols from familiar sacred stories, set in a dimension of reality and lived experience to a degree unprecedented in the history of Italian painting.”
TEMPORARY INSTALLATION: Yesterday was the last day to see “Nativity Scenes of the World” by Ejti Štih, an installation of thirty culturally diverse, life-size cut-out figures inside the concert hall of Slovenia’s famous Postojna Cave. What a location! Click here for a quick video tour of all the figures.
I’m excited to dig into the new books I got for Christmas! Thanks, family—you’re the best. (And no, Mom, the book-length bibliography of ekphrastic poetry was not a mistake on my wishlist. Yes, really.)