The Lord is my strength and my song;
he has become my salvation.
Glad songs of salvation
are in the tents of the righteous:
“The right hand of the Lord does valiantly,
the right hand of the Lord exalts,
the right hand of the Lord does valiantly!”
I shall not die, but I shall live,
and recount the deeds of the Lord.
SONG: “The Strife Is O’er” | Words: Anonymous Latin poem (first compiled 1695), translated by Francis Potts, 1861 | Music: Rev. Vito Aiuto, on Precious Remedies Against Satan’s Devices by the Welcome Wagon (2012)
The strife is o’er, the battle done;
The victory of life is won;
The song of triumph has begun:
The pow’rs of death have done their worst;
But Christ their legions hath dispersed;
Let shouts of holy joy outburst:
The three sad days are quickly sped;
He rises glorious from the dead;
All glory to our risen Head:
He closed the yawning gates of hell;
The bars from heav’n’s high portals fell;
Let songs of praise his triumph tell:
Lord, by the stripes which wounded thee,
From death’s dread sting your servants free,
That we may live, and sing to thee:
(I’ve noticed several slight variations in the English lyric translation attributed to Francis Potts. This is the version used by the Welcome Wagon.)
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 Easter Sunday, cycle C, click here.
This Sunday marks the start of Passion Week, with Jesus riding into Jerusalem on a donkey, where he is greeted by palm branches and Hosannas. By Thursday, though, these shouts of praise will devolve into “Is it I?,” “I do not know him,” and “Crucify him!”
In a series of simple verses, Hiram Ring’s blues-inflected song “My Lord” moves from Jesus’s triumphal entry to his agony in the garden (where he drinks heavily the bitter draft of suffering) to his crucifixion. The final two verses shift then to his resurrection and his exaltation in heaven.
I’m compelled by the Gospel narrative paintings of contemporary Australian artist Nathan Simpson. These are a few I saved from his website a while ago before it went under construction. In Simpson’s Agony in the Garden, Christ’s anguish is palpable. The image combines the Gethsemane narrative with all the suffering that lies ahead, culminating in death. A row of olive trees forms the horizontal beam of a cross, while a rooster (alluding to Peter’s betrayal) forms the vertical; Christ’s head, with swollen eyes and gaping mouth (“My God, my God . . .”), is the point of intersection.
Simpson’s Resurrection painting, by contrast, shows a Christ who’s victorious over death, his face serene. The artist plays with the popular “tree of life” motif, fusing Christ’s body into this flowering, bird-filled plant. An arborescent Christ! See how the nail wound in his left foot is also the tree’s hollow.
In their latest blog post, SALT Project suggests a simple at-home Holy Week ritual for families that I really like: a Tenebrae Wreath (tenebrae means “shadows”).
Imagine . . . a sort of Advent Wreath in reverse: four candles in a circle with a Paschal candle in the middle, extinguished one by one. Sunday night: beginning with only the Paschal candle lit, read Luke’s story of Palm Sunday, and then light all four candles in joy, hope, and thanksgiving. Thursday night: read Luke’s story of the Last Supper, and extinguish one candle; then read Luke’s story of Gethsemane, and extinguish a second. Friday night: read Luke’s story of Peter’s denials and desertion, and extinguish a third candle; then read Luke’s story of Jesus’ suffering, and extinguish the fourth; and then finally, read Luke’s story of Jesus’ death, and extinguish the Paschal candle. Saturday, the wreath remains unlit and bare, perhaps shrouded with cloth. And Sunday morning, the shroud is gone and all candles are lit, with a few more candles added—along with some flowers and Easter sweets! Read Luke’s story of the empty tomb, and sing your favorite Easter hymn (or two).
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 Palm Sunday and the Liturgy of the Passion, cycle C, click here and here.
I love the curatorial approach of these two current exhibitions, which bring art from the Middle Ages or Renaissance into conversation with contemporary art. Rather than doing this to prove a disjunction sparked by modernity, the curators stress continuity between the artists of yesterday and today.
“Make It New: Conversations with Medieval Art,” Bibliothèque nationale de France (National Library of France), Paris, November 5, 2018–February 10, 2019: Curated by Dutch artist Jan Dibbets, “Make It New” explores the relationship between works of contemporary art and the medieval art of Raban Maur (Hrabanus Maurus), a ninth-century monk from Fulda, Germany, and a major figure of the Carolingian renaissance. The centerpiece of the exhibition is Raban Maur’s De laudibus sanctae crucis (In Praise of the Holy Cross), a Latin manuscript comprising twenty-eight highly sophisticated poems whose letters are arranged in simple grids over colorful, geometric cross patterns. At the BnF, these compositions are placed in dialogue with thirty-plus works by some of today’s minimalist, conceptual, and land artists, including Sol LeWitt, Carl Andre, François Morellet, Niele Toroni, and Franz E. Walther, stressing similarities in form, color, proportion, and perspective. [press release (English)] [compilation of Maur images]
The original figure poem cycle was produced around 810 at the scriptorium in Fulda, and Raban Maur had a hand in making at least five other copies during his lifetime (of which France’s National Library owns two: Lat. 2423 and Lat. 2422); seventy-four additional copies from the Middle Ages are extant. The Burgerbibliothek Bern in Switzerland has digitized its early eleventh-century copy (Cod. 9), and it’s really fascinating! Full-resolution downloads are enabled. According to the Benedictine abbot Odilo of Cluny, “no work more precious to see, more pleasing to read, sweeter to remember, or more laborious to write can or could ever be found.” I don’t know Latin, but visually, I can really appreciate these fine pages. I was hoping to find more information about the work but could really only find a single French lecture given back in 2007 by Denis Hüe, a professor of medieval and Renaissance language and literature at the Université Rennes 2 Haute-Bretagne.
“Bill Viola / Michelangelo: Life, Death, Rebirth,”Royal Academy of Arts, London, January 26–March 31, 2019: When pioneering video artist Bill Viola saw a collection of Michelangelo’s exquisite drawings at Windsor Castle in 2006, he was astonished by the Renaissance master’s expressive use of the body to convey emotional and spiritual states. Here the two artists are exhibited side by side, showing their common grappling with life’s fundamental questions, albeit in vastly different mediums. “Both artists harness the symbolic power of sacred art, and both show us physical extremes and moments of transcendence.” Among the twelve major installations from Viola, spanning his career, is Tristan’s Ascension(The Sound of a Mountain Under a Waterfall), a sixteen-foot-high projection depicting the ascent of the soul after death.
For February 16, the Royal Academy has organized a full day of events keyed to the exhibition, including poetry readings, a documentary screening, and a panel discussion with cultural historian Marina Warner, theologian Ben Quash, and artist Mariko Mori, titled “Art as fulfilment: the use of religion and spirituality in contemporary art.” Questions for the day include: Does art connect us? Can art be transformative or transcendental? Can art influence society—that is, change opinions or human behavior? Other offerings in addition to this program are a curator’s introduction on February 1, a short course on figure drawing, and a talk on the limitations and opportunities of digital art. Plus, the London Art Salon is hosting a talk on the exhibition by art historian Marie-Anne Mancio.
NEW COMIC BOOK PUBLISHER: Cave Pictures Publishing, founded in fall 2018 by Mark Rodgers, is committed to the telling of “modern myths” that “speak to the soul” through comic books in the genres of action-adventure, sci-fi, historical fiction, and fantasy. Pitched for the spiritually inclined, the stories they publish “seek to make sense of our world . . . draw us toward the source of goodness . . . uncover what we worship.” Says Rodgers in a Hollywood Reporter interview: “Just as cave paintings were humanity’s initial attempt to process through the tough ultimate questions of human existence, we look at our stories as ‘sherpas of the soul,’ to contribute to the individual and collective human journey towards meaning and a greater reality,” the One True Myth. Read more about the company’s influences and aspirations in this Convivium essay. See also the interview in Sojourners.
One of their five inaugural series is The Light Princess, an adaptation of one of George MacDonald’s best-loved fairy tales, about a princess who is cursed with weightlessness and is only brought down to earth by a true, sacrificial love. MacDonald was a Scottish author, poet (e.g., here, here, and here), and Christian minister who deeply influenced C. S. Lewis and J R. R. Tolkien. Speaking of Tolkien, I’m really digging this quote of his on Cave Pictures’ website, which affirms the value of story: “Legends and myths are largely made of ‘truth,’ and indeed present aspects of it that can only be received in this mode. . . . Long ago certain truths and modes of this kind were discovered and must always reappear.”
ANGLO-SAXON ASCENSION POEM: Excerpts from “Christ II” by Cynewulf, probably ninth century, translated from Old English by Eleanor Parker: Dr. Eleanor Parker lectures on medieval literature at Oxford University and runs the excellent blog A Clerk at Oxford, where she often shares her translations of Anglo-Saxon poetry, with commentary. The poem she shares here reflects on Christ’s ascension—the disciples’ grief, the angels’ joy. To me the most remarkable section is the one that, indirectly referencing a sermon of Gregory the Great, describes Christ “leaping” up to heaven, taking an active bound toward his homeland, a movement read in light of Song of Solomon 2:8: “Behold, he comes, leaping over the mountains, bounding over the hills.” This leap is one of six he took: from heaven (1) into Mary’s womb, (2) into a manger, (3) onto the cross, (4) into the tomb, (5) into hell, and finally, (6) back into heaven. “Prince’s play”! Parker pairs the poem with an exquisite, near-contemporary manuscript illumination, also from England; there’s also a lot of resonance between the poem and the Ascension image I published Tuesday by Bagong Kussudiardja, which shows a more balletic ascent.
UNDERWATER DANCE: “AMA,” a short film by Julie Gautier: This wonderfully expressive silent film shows French free diver and underwater artist Julie Gautier dancing in a single breath for several minutes inside the world’s deepest swimming pool, Y-40 Deep Joy in Montegrotto Terme, Padua, Italy, to a minimalist piano piece. The final shot shows Gautier slowing rising to the water’s surface while releasing a giant air bubble, her pose evocative of the crucified Christ (and her upward movement an Ascension of sorts!). Titled “Ama” (Japanese for “sea woman,” the name given to Japan’s pearl divers), the film is “dedicated to all the women of the world,” Gautier says. The choreography is by Ophélie Longuet.
Gautier and her husband, Guillaume Néry, a free-diving champion, own the underwater filmmaking company Les Films Engloutis. Their most well-known project has been a music video featuring Beyoncé, codirected by Gautier and starring Néry.
KICKSTARTER CAMPAIGN: Help Andy Squyres finance his next album: Andy Squyres is a super-talented singer-songwriter whose lyrics don’t stay in the shallows but, rather, dive into the depths of the faith experience. They are also supremely hope-filled. Below is a video of Squyres performing “Labor in Vain” at a house concert; the song is from his last album, Cherry Blossoms, which I reviewed here. Click on the boldface link above to hear Squyres discuss his new album project and to donate toward it.
ICON PAINTING COMPETITION: The Interparliamentary Assembly of Orthodoxy (IAO) is hosting an international icon painting competition on the subject of Christ’s Resurrection. “Our purpose is to explore and bring to the foreground the numerous stylistic trends in existence today, enabling the visualization of a creative dialogue with tradition and, at the same time, the personal artistic expressions of artists who reframe tradition without, however, digressing from the doctrinal framework of Christian icon painting set by the 7th Ecumenical Council.” The submission window is closed—there are sixty-three great entries!—and now it’s time to cast your vote. Five winners will be selected to receive cash prizes, the topmost being €3,000, and other honors. Popular votes will be taken into account by the twelve jury members, among whom are esteemed iconographers George Kordis from Greece and Todor Mitrovic from Serbia.
ESSAY: “On the Border of East and West: Searching for Icons in Lviv” by John A. Kohan: The latest issue of Image journal features a wonderful essay on the Lviv school of iconography (represented in entries #4, #10, and #20 of the above contest), a movement by young Ukrainian Greek Catholic artists to contemporize the Byzantine visual tradition. Written by John A. Kohan, an avid religious art collector and former Time bureau chief in Moscow (1988–1996), it discusses the political history of the city; the role of Metropolitan Andrey Sheptytsky (r. 1901–1944) in preserving and supporting art for future generations; the opening of the Iconart gallery in 2010 to nurture and promote the new style; the broad training these icon makers receive at the Lviv National Academy of Arts; and the uneven reception by others in the denomination (especially official church bodies), who tend to prefer their sacred art in the Radruzh School style or as contemporary Catholic kitsch. Kohan writes from his firsthand experiences meeting the artists and visiting their studios, churches, and exhibition spaces. The essay is available to subscribers only; click here to subscribe.
MET GALA + EXHIBITION: “Heavenly Bodies: Fashion and the Catholic Imagination,” May 10–October 8, 2018, Metropolitan Museum of Art, New York City: The largest exhibition ever mounted by the Met’s Costume Institute, “Heavenly Bodies” features both religious vestments from the Vatican and runway fashions by famous designers inspired by Catholicism. AFashionista reviewer who attended a preview reports on the integrated displays:
A reliquary arm of Saint Valentine is displayed alongside a breastplate and crown of thorns from Alexander McQueen’s Givenchy days; sacred music serves as the auditory backdrop for a Rodarte collection that features a dress inspired by Bernini’s famous sculpture Ecstasy of Saint Teresa. Rows of mannequins wearing Dolce & Gabbana, Moschino and Raf Simons show the ways that the silhouettes of the cassock and nun’s habit have been explored on the runway time and again. There are even vestments by the likes of Yves Saint Laurent and Riccardo Tisci that were expressly designed to dress statues of the Virgin Mary in chapels in Italy and France.
Each year since 1948, the opening of the Costume Institute’s spring exhibition has been celebrated with a huge fundraising gala attended by celebrities who dress to the theme; this year’s took place May 7. There were lots of crosses and haloes, but also some more particularized outfits. Ariana Grande’s gown was inspired by Michelangelo’s Last Judgment; Gigi Hadid’s, by stained glass. Selena Gomez carried a Coach handbag embroidered with Proverbs 31:30b: “A woman who fears the Lord is a woman who shall be praised.” The most brazenly dressed was Rihanna, who wore a gem-encrusted bishop’s miter (not a papal tiara, as has been commonly reported). Another standout headpiece was Sarah Jessica Parker’s, which featured a Neapolitan Nativity scene set inside a mini baldachin. (The making of elaborate presepi, or Christmas crèches, is a longstanding tradition in Naples, reaching its height during the eighteenth century.)
Lana Del Rey went as Our Lady of Sorrows, wearing an immaculate-heart chest plate pierced through with seven daggers; it was comical to hear religiously illiterate reporters trying to interpret the symbolism, saying things like the daggers are a “reminder to repent your sins or suffer damnation!” (Wrong. The swords symbolize the Virgin’s seven sorrows, beginning with Simeon’s prophecy.)
During Easter 2016 I published an article on Jesus as the gardener of our souls, featuring a roundup of Noli me tangere (“Touch me not”) paintings that portray the risen Christ as a literal gardener, including a fresco by Fra Angelico from the convent of San Marco in Florence.
I spent the spring semester of my junior year of college living in Florence and, while there, fell in love with Renaissance art, and in particular the paintings of Fra Angelico (ca. 1395–1455). Born Guido di Pietro, he took vows as a Dominican friar and, together with his assistants, painted two corridors and the forty-four cells in the newly built San Marco, where he lived. The convent is now a state museum and is one of my favorite sites in the city.
In 1990 art historian Georges Didi-Huberman published a monograph on Fra Angelico, spending considerable time on his Noli me tangere, especially its red flowers, which he reads as a figural displacement of Christ’s stigmata (nail wounds). (More on this below.) In the painting, he writes, Christ’s blood “soaks the earth and makes a new humanity grow there, a humanity in the imitation of Christ, a humanity redeemed from sin” (161). He notes how the floral imagery is echoed in the Annunciation in the hallway outside the cell, serving to visually connect these two stages of redemption: Christ’s “flowering,” or conception, in the womb of Mary and his flowering forth from the womb of the earth on Easter.
The figure of the Christ-flower was already a common one in the medieval West. For example, the great thirteenth-century theologian Albertus Magnus writes,
The Christ-flower [flos Christus] blossomed in the Nativity, as we read in Isaiah 11:1: “There shall come forth a rod out of the stem of Jesse.” It withered in the Passion, when there was no longer aspect or beauty. . . . It blossomed again at the Resurrection according to human nature, in the very place where it had withered. Thus it is said: “And my flesh blossomed anew” (Psalm 27:7). [De laudibus 12.4.2]
Fra Angelico furthered the development of this metaphor in visual form, picturing Christ’s blood (according to Didi-Huberman) as a fertilizing material, the agent of regeneration.
The following excerpt is taken from Fra Angelico: Dissemblance and Figuration* by Georges Didi-Huberman, translated from the French by Jane Marie Todd (Chicago: University of Chicago Press, 1995), pages 19–22. I find some of the semiotics discourse to be abstruse, but I’ve highlighted a few standout ideas in boldface—ideas that have helped me to see Fra Angelico’s Noli me tangere (and the Resurrection!) with new eyes.
Angelico sprinkled little spots, deposited little splotches all over this “field” [of green]: more or less regular blotches, made of Saint John White [bianco di San Giovanni]—that is, the very material that constitutes the intonaco of the pigment—and, on top of that, red. It is a bright color, a terra rossa, and it forms a slight relief from the wall; the rhythmic effect, the pattern effect, is only that much stronger.
But what about this “field” in the economy of representation? And in particular, what exactly do these little spots of red pigment spread across the surface like stars represent? To what category of signs do they belong? A response suggests itself at first glance, a response relating to the obviousness of the storia and, consequently, to the overall mimetic, “realist” nature of the fresco: these little red blotches without a doubt represent flowers in the meadow. In [Charles Sanders] Peirce’s semiotic typology, these little red blotches would therefore be icons of flowers in a meadow. Peirce noted quite rightly, concerning this concept of the icon, the extent to which we have a tendency when contemplating a painting to forget the distinction between the present sign (in this case, the red blotches) and the absent reality (the flowers). We therefore need to go a bit further in our contemplation of the little blotches themselves.
We notice at this point that the colored patterns are absolutely not painted like flowers. They do not describe anything, do not suggest any distinguishing features: in these flowers, there are no calyxes, no corollas, no pistils, no stamens. They are colored blotches, no more and no less. And it would be completely absurd to invoke at this point some incompetence on Fra Angelico’s part in representing a flower with its pistil and stamens: he carried out the task perfectly well elsewhere, and moreover, he proved himself competent in the face of much greater mimetic difficulties. It would be just as pointless to imagine the painter “not having the time,” or the coat of paint drying too quickly. If Angelico had wanted to paint a flower like a flower, he would have done so; he would have applied himself. But that is precisely the point: he did not decide to do so. He was satisfied with laying on little circular “heaps” of terra rossa. Why? The response is not in absentia, in a meadow or a text, for example; it is in praesentia, on the fresco itself. For if we persist in wondering what the red blotches are painted like, we can give as our response only what we see: in all rigor, these red blotches are painted like—that is, exactly in the same manner as—Christ’s stigmata.
These red blotches are even painted the way Fra Angelico painted stigmata in general, Christ’s or Saint Francis’s, everywhere in San Marco: they are small circular inflections of the brush that deposits its thick pigment of terra rossa. And the evidence of such a relation is accentuated, specified, virtually demonstrated by the constellation effect Angelico actually bestowed on his little blotches: these flowers scattered across a green ground follow a trajectory that ends with a repetition of the same pictorial sign on Christ’s hand and foot.
Confronted with what amounts to a real displacement of the iconic sign, I can no longer affirm anything that has the minimal stability required for the notion of a motif: speaking in absolute terms, I can no longer say “it is” or “it is not” in a decisive way. There is a displacement of the iconic value and hence an equivocal representation. For example, I can very well affirm that Christ’s stigmata are, according to Fra Angelico, the flowers of his body. And I will have no difficulty, by the way, in finding a Thomist text to support an affirmation of this kind: for instance, the article in his Summa theologica that Aquinas devotes to the question of whether Christ’s risen body had or did not have scars. To the objector who maintained that stigmata are wounds, and hence a “corruption” and a “defect,” Aquinas responds yes, but those wounds, on Christ, possess a “special beauty” (specialis decor) which is Beauty itself, the (bleeding, of course) Beauty of the Virtue of Humility [Summa theologica 3a.54.4].
But I could just as easily affirm, confronted with Angelico’s fresco, that Christ is here represented in the emblematic act of “sowing” his stigmata in the garden of the earthly world, just before going to rejoin the right hand of his Father in heaven. The idea finds support, by the way, if we pay attention to the fact that, seven times in the fresco and especially next to the stigmata stricto sensu, the red “flowers” appear in groups of five, the symbolically very pregnant number of Christ’s wounds.
In short, in considering these little red blotches in terms of the how of their presence in the fresco, we are led to equivocate on the question of what they represent mimetically. The iconic character of these red signs moves to the background, submits to a logical aporia, while their nature as indexes, as blotches, as pure physical, colored traces, takes center stage. And their way of signifying—between the flower and the stigmata, creating the notion of a relation above all—no longer has anything to do with the way the story delivers its very recognizable meaning.
Finally, as if to definitively convince his meditative fellow friar that he was not merely recounting a too well-known anecdote from the Gospels, Fra Angelico placed a third type of sign at the level of the gaze, something that does not look like anything recognizable in a meadow or even in the story of the Noli me tangere: it is a symbol, three little bleeding crosses, placed between Mary Magdalene and the risen Christ. Here is something that does not “resemble” anything in the order of meadow reality, but nonetheless possesses an obvious memorative function, pointing toward a meditation on Christ’s Passion and the Trinity.
It is particularly important to note that Angelico’s fresco signifies a great deal beyond the conventional iconographical attributes of its story. The example of the little patterns of red in itself raises the possibility of a painter’s using pictorial signs that constitute, strictly speaking, signa translata, a term I will translate as “transit signs,” signs or operators of conversion. And these signs of conversion are not simply metaphors, because their material existence sets up a labile movement between signs of very different semiotic status—icons, indexes, and symbols. That is why such pictorial signs immediately prohibit any univocal relation of attribution—a word to be understood in its two senses, logical and iconological. Such signs have the value of displacement, movement, and association rather than definition, identification, or predication.
But that does not mean they have a lesser value. On the contrary: if there is a type of thinking characteristic of images, it is associative—translata—thinking, a thinking that structures itself by shifting. To represent flowers in a field, Fra Angelico chose to produce only stigmata, simple marks, red colored traces; but these traces, arranged in series, in some sense bridge the gap between two completely heterogeneous (but theologically articulable) orders of thought: a field in springtime on the one hand, and Christ’s body “decorated” with wounds, his stigmata, on the other. That is what, in all rigor, is called a practice of figurability. The image, incapable of—or rather oblivious to—strict logical thinking, draws from this obliviousness all its signifying force. It is only a matter of seeing in Angelico’s fresco how a single material element—that famous terra rossa color—can function on the whole surface of the work as the privileged operator of displacements and structurers of meaning: this red speaks to us of sin in Mary Magdalene’s robe, but it is also, across from her, the very place of Christ’s suffering, the stigmata; it returns to Mary Magdalene in the converted form of compassion; it is disseminated as spring flowers, as an emblem of the Passion, but also of the Resurrection; it continually shifts between the flesh of man—since it is in general a stroke of that same red that outlines bodies in Angelico’s frescoes—and the glory of Christ’s risen flesh, the incarnate of his lips, the red cross of his halo. . . .
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FLASH MOB: On Easter 2011 at City Mall in Beirut, Lebanon, a flash mob broke out singing the Paschal troparion in Arabic: Christ is risen from the dead, trampling down death by death, and on those in the tombs bestowing life! [HT: Global Christian Worship]
NEW PAINTING INSTALLED: James B. Janknegt is a Christian artist from Texas who is known for transposing biblical stories into contemporary American settings. He recently completed a large triptych for the new Unity Hall at Community First! Village in Austin, a planned community, developed by Mobile Loaves & Fishes, that provides affordable, permanent housing for the chronically homeless. (See the development and learn more about it in this short video, presented by MLF founder Alan Graham.) The painting shows Jesus in conversation with the “good thief” who, as he dies, acknowledges his crime and asks Jesus to “remember me when you come into your kingdom” (Luke 23:42). Behind him paradise flowers forth, indicating not only his new home but his inward regeneration. The other thief, by contrast, turns his head away in stubbornness. This episode demonstrates that repentance is always met by Christ with love, affirmation, and seeds of new life.
SHORT FILM: “Dance Dance” by French film director Thomas Blanchardevokes each of the four seasons through different elements acting on flowers, captured in either time lapse or slow motion. For fall, a rose is set on fire; for winter, foliage afloat in water becomes frozen in ice; for spring, lilies bloom; and for summer, colored inks hit the flowers and billow up in dusty clouds. Stunning images!
CHAIYA ART AWARD FINALIST: The inaugural Chaiya Art Award competition ended last month, with the winner taking home £10,000 and being exhibited, along with forty-one other juried selections, at London’s gallery@oxo March 29–April 9. The theme was “Where Is God in Our Twenty-First-Century World?”
One entry I really love is finalist Sheona Beaumont’s Natal, a photographic work that shows a nude pregnant woman standing against a dark wall in profile, her hair blown wildly by a gust of wind, opposite a corpse. These are two different spaces set in juxtaposition—two photos stitched together. The black-and-white photo of the dead body, on the left, is Fred Holland Day’s The Entombment from 1898, in which he himself posed as Christ, laid out on a bier before a doorway, his crown of thorns and titulus crucis on the ground beside him. Beaumont rotated this horizontal image 90 degrees clockwise so that the Christ figure is propped upright. She then posed her female model to form a sort of mirror image, but one full of vitality; the woman’s belly, the site of new life about to be born, is brightly lit. This combination photograph makes a powerful Holy Saturday image, one that hints toward resurrection as the stillness gives way to stirrings. The photo is also an allusion to the new life believers have in Christ, and in fact it forms the first in a new series titled Born Again. Visit Beaumont’s website to view the artwork and to read a bit about her process and the meaning the work holds for her.
EXHIBITION: “Zurbarán’s Jacob and His Twelve Sons: Paintings from Auckland Castle”: Last fall, Spanish Golden Age artist Francisco de Zurbarán’s Jacob and His Twelve Sons made its North American debut at the Meadows Museum in Dallas, traveling for the first time in centuries, and now the exhibition is at the Frick Collection in New York City—but only through the end of this week! Twelve of the thirteen paintings in the set are from Auckland Castle in County Durham, England, the residence of the eighteenth-century Anglican bishop Richard Trevor, who acquired them in 1756 and had them displayed in his dining room, where they have remained ever since. Trevor was outbid on the painting of Benjamin, however, which is on loan from Grimsthorpe Castle in Lincolnshire, reuniting the set for the first time since the paintings’ 1756 sale.
The iconography of the paintings is derived from the prophecies Jacob utters over each of his sons on his deathbed, as described in Genesis 49. For example, Judah, from whom “the scepter shall not depart,” holds said scepter and is regally draped in a gold brocade robe and fur that hint at his descendants kings David and Solomon (Zurbarán was the son of a haberdasher, and gave great care to the depiction of textiles); Dan, on the other hand, holds up a serpent on a stick, alluding to his craftiness. To view all the paintings, click here.
3-D SHOW: As of last month and through the end of July, Artainment Worldwide Shows, in cooperation with the Vatican Museums, presents “Giudizio universale: Michelangelo and the Secrets of the Sistine Chapel”by Marco Balich, an immersive 3-D show that brings to life Michelangelo’s Sistine Chapel frescoes inside the Rome Conciliation Auditorium. Half the room is covered, from the walls to the ceiling, with a 270-degree screen that projects extremely high-res photos of the paintings, dramatized through movement, music, lighting, sound effects, narration, live actors, and dance. Lasting sixty minutes, the show concludes with the thirteenth-century Latin hymn Dies irae (“Day of Wrath”), set to new music by Sting and arranged for chamber orchestra and choir by Rob Mathieson. Watch the trailer below, or click here to see some of the 3-D animation of the Last Judgment.
And he will destroy on this mountain the shroud that is cast over all peoples, the sheet that is spread over all nations; he will swallow up death forever. . . . This is the LORD for whom we have waited; let us be glad and rejoice in his salvation.
—Isaiah 25:7, 9b
Kristus je vstal! Zares je vstal! (Slovenian) | Christ is risen! He is risen indeed!
My church is a part of the New City Network; we have several favorite James Ward songs, and this is one of them. I can’t wait to sing it together as a congregation this morning!
Let no one fear death,
for the death of our Savior has set us free.
He has destroyed it by enduring it.
He destroyed hell when he descended into it.
He put it into an uproar even as it tasted of his flesh. . . .
Hell grasped a corpse, and met God.
It seized earth, and encountered heaven.
It took what it saw, and was overcome by what it did not see.
O Death, where is thy sting?
O Hell, where is thy victory?
Christ is risen and you are cast down! . . .
Christ is risen and life is set free!
Released in 2015, the album Last Days by the Brothers of Abriem Harp features twelve original indie-folk songs for Holy Week that tell the story of Christ’s passion, from the thundering voice of the Father affirming the Son but also presaging judgment, to the glorification of Christ in the Resurrection. One of its major draws is its quiet, understated conveyance of the week’s drama through several different voices: Jesus, of course, but also Mary, Peter, Judas, and other unnamed disciples who reflect on the events they witness, especially in light of their past histories with Christ.
Approaching Jesus’s last days primarily through the lens of story—plot, character, mood, etc.—rather than the lens of doctrine makes the listening experience more immersive. That’s not to say theology is absent from the album; it’s very much there. But it is not heavy-handed or abstruse, and neither is it reduced to clichés.
The songs are written and sung by Joe Kurtz (pseudonym: Abriem Harp) and Josh Compton (Josh Harp), with Matt Kurtz (Matthew Harp) on percussion and John Finley (Hezekiah Harp) playing many of the other instruments. On the band’s Facebook page they describe themselves as “Gospel-shoutin’ melody makers from the Rust Belt,” and among their musical influences are field recordings, the Sacred Harp tradition, and mountain music.
In the video below, the Brothers have set the entire album to altered footage from Vie et Passion du Christ (Life and Passion of the Christ), a forty-four-minute silent film released in France in 1903. The album is also available for streaming and purchase at https://harpfamilyrecordings.bandcamp.com/album/last-days.
Here’s a rundown of the songs.
A voice arose, a voice arose
A voice arose, a voice
It sounded like thunder, pounded like thunder (×4)
It said, “I’ve glorified it, and again I’ll glorify it”
Yeah, “I’ve glorified it, and again I’ll glorify it” (×3)
This is an unconventional starting point for the passion narrative, which typically begins with Christ’s entry into Jerusalem. Instead, the Brothers have chosen a lesser-known episode from John’s Gospel, which occurs just after the triumphal entry—and what a beautiful passage to highlight. (I actually was not familiar with the references in the song and had to look them up—a great example of how the arts can stimulate renewed engagement with the Bible!)
“The hour has come for the Son of Man to be glorified. Truly, truly, I say to you, unless a grain of wheat falls into the earth and dies, it remains alone; but if it dies, it bears much fruit. . . .
“Now is my soul troubled. And what shall I say? ‘Father, save me from this hour’? But for this purpose I have come to this hour. Father, glorify your name.”
Then a voice came from heaven: “I have glorified it, and I will glorify it again.” The crowd that stood there and heard it said that it had thundered. Others said, “An angel has spoken to him.”
Jesus answered, “This voice has come for your sake, not mine. Now is the judgment of this world; now will the ruler of this world be cast out. And I, when I am lifted up from the earth, will draw all people to myself.” He said this to show by what kind of death he was going to die.
“It’s time.” That’s essentially what Jesus is saying. And then in the middle of this discourse with the disciples, Jesus gets real with the Father. “I’m scared! But what can I do? This is my destiny; I can’t avoid it.” And then, his words of acceptance, of surrender: “Father, glorify your name.” It’s unclear whether this prayer was audible to the disciples or was expressed merely internally. Whatever the case, the Father’s response was heard by all—though some attributed it to natural phenomena, or to an angel.
As this passage clarifies, the “it” in the song is the Father’s name: God says that he has glorified it in the past, and he will glorify it again, when Christ is lifted up for the salvation of the world.
John uses the words glory and glorified a lot in his Gospel, especially in relation to Christ’s passion. In John 13:31, after the Last Supper, where Jesus has just identified Judas as his future betrayer, Jesus says, “Now is the Son of man glorified, and God is glorified in him.” Later that night, in Gethsemane, Jesus prays, “Father, the hour has come; glorify your Son that the Son may glorify you. . . . I glorified you on earth, having accomplished the work that you gave me to do. And now, Father, glorify me in your own presence with the glory that I had with you before the world existed” (John 17:1, 4–5).
The opening song on Last Days, therefore, though just three allusive lines, repeated, is packed with meaning, much of it concentrated in that dense word glorify, a word that orients the whole album. Much like the opening sequence of a movie sets the movie’s tone and hints at what you’re in for, so do opening songs on albums, and this one is somewhat portentous, leaving us wondering, “How will God’s name be glorified?”; it also gives the Father a speaking role and thus situates him as a main character in the story. Continue reading “Album Review: Last Days by the Brothers of Abriem Harp”→
KJV: Have mercy upon me, O God, according to thy lovingkindness: according unto the multitude of thy tender mercies blot out my transgressions. Wash me throughly from mine iniquity, and cleanse me from my sin. . . . Make me to hear joy and gladness; that the bones which thou hast broken may rejoice.
Generous in love—God, give grace!
Huge in mercy—wipe out my bad record.
Scrub away my guilt,
soak out all my sins in your laundry.
. . .
Tune me in to foot-tapping songs,
set these once-broken bones to dancing.
SONG: “Wash Me Clean” by Page CXVI, on Hymns IV (2011)
Wash me clean
In the warm sun dry me
Cleanse my heart
From all iniquity
In the Holy Spirit sea
Renew my mind
That wickedness may flee
In those days
His Son will save
His Spirit will pour
On all who call on the Lord
In those days
His Son will save
His Spirit will fill
Empty jars of mud and clay
In these days
Barren fields will sprout trees
The deaf and blind will hear and see
The dead will rise, begin to breathe
The dead will rise, begin to breathe
The earth will groan in pain to see
The sons of God declared to be
His full and glorious family
The beautiful, perfect bride of Thee
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 Fifth Sunday of Lent, cycle B, click here.
Lately I’ve been enjoying the music of the monks at Keur Moussa Abbey, a brotherhood of French expatriates and Senegalese who wed Western liturgical chant with the rhythms and instrumental textures of West Africa. One of their income streams is musical recording sales—in North America, for example, Sounds True distributes Keur Moussa: Sacred Chant and African Rhythms from Senegal. It’s an excellent, seventeen-track CD that comprises songs of praise, exhortation, confession, and supplication in French and Wolof. Below you will find two of those tracks, embedded with the kind permission of Sounds True.
The first is “Suma Hol Nam” (“I Was Glad”), an adaptation of Psalm 122 in Wolof, accompanied by tom-tom. “Let peace reign in your tents, joy within your walls!” it exclaims. The refrain is “How glad I was when they said to me, ‘Let us go to the house of the Lord.’”
The second is “Yesu Dekalikuna” (“Jesus Is Risen”), a brisk instrumental kora interlude that evokes the holy women hastening from the tomb on Easter morning.
From the liner notes:
In 1963, nine monks from the French monastery of Saint-Pierre of Solesmes—a centuries-old stronghold of the ancient Gregorian plainchant tradition—journeyed to the remote Wolof village of Keur Moussa in Senegal to found the Benedictine Abbey of the Immaculate Heart of Mary [Abbaye du Cœur Immaculé de Marie]. Keur Moussa Abbey, as it is known to the villagers, means “House of Moses.” It is above all a place of prayer, where praise of God is celebrated through hard work, contemplative silence, and joyful music. From the first day of their arrival, these expatriate monks sought to invite the traditions, music, and people of their host village into the monastery grounds.
Today, Keur Moussa Abbey houses 35 brothers, 24 of whom are Senegalese. [According to OSB International, the current number of brothers is 44.] The abbey also sponsors an elementary school and dispensary, run by sisters and laypeople. The monks themselves live from the work of their hands, tending fruit trees, making cheese, and hand-crafting their renowned koras.
The kora, employed for both solos and accompaniment, is an African lute-harp of Mandingo origin. Enchanted by its lyrical voice, the first monks of Keur Moussa Abbey learned from the griots (nomadic Mandingo kora players and storytellers) to play the instrument, and eventually adapted it for use in their liturgical services. Through careful changes in the kora’s construction, they have made it easier to tune—a process that once frustrated even the most experienced of players—without altering its extraordinarily beautiful timbre. . . .
Through the continual exploration of their convergent musical worlds, the monks of Keur Moussa have created an entirely new liturgical choral tradition . . . weav[ing] the rhythms and instrumental textures of the African continent with the sacred words and compositional structures of traditional Western plainchant (sung in French and Wolof, the language of the region). Here, as in the daily masses at the abbey, the choral works are occasionally preceded or followed by instrumental performances on kora, tabala (a large Mauritanian camel-skin drum), balafon (a Malinke instrument similar to the xylophone), tom-tom, and flute.