Roundup: Giotto projections, global Christmas music playlist, Sakhnini Brothers concert, sacred lettering, deep incarnation

PROJECTION MAPPING INSTALLATION: Il Natale di Francesco (The Christmas of Francis): Last year the Sacro Convento in Assisi, a Franciscan friary, initiated an architectural lighting project called Il Natale di Francesco that featured projections of Christmas-themed frescoes by Giotto from the Lower Basilica of St. Francis onto several of the city’s landmark churches. Architect Mario Cucinella served as artistic director, and the company Enel X realized the installation, which ran throughout Advent and Christmastide, from December 8, 2020, to January 6, 2021 (and I hear it’s been reprised this year!). The pièce de résistance was the projection of Giotto’s Nativity onto the facade of the Upper Basilica of St. Francis. Other projections included the Annunciation on the Cathedral of San Rufino, the Visitation on the Basilica of Saint Clare, and the Adoration of the Magi on the abbey church of San Pietro in Valle—all images adapted using advanced technology to suit the spaces they illuminated.

Annunciation projection

Other components of the installation included frescoed stars from the main basilica’s vaults projected onto the streets; a re-creation of Giotto’s scenes with dozens of sculpted figures, including the addition of a masked nurse at the crèche in honor of all the frontline healthcare workers serving during the COVID-19 crisis; and every thirty minutes a video-mapping show that offered views of the basilica’s interior. I so love the creativity of bringing the sacred art treasures of the church out into the town squares when the pandemic necessitated church closures.

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VIRTUAL CONCERT: Christmas with the Sakhnini Brothers: The Sakhnini Brothers are Adeeb, Elia, and Yazeed, three Arabic-speaking brothers from Nazareth who are followers of Jesus. They play about twenty instruments collectively but specialize in piano, oud, and violin, respectively, and love to blend modern Western and ancient Middle Eastern musical styles.

In this half-hour living room concert that premiered December 13, they are joined by vocalist Nareen Farran, pianist Sireen Elias, and percussionist Firas Haddad. They perform an instrumental rendition of “God Rest Ye Merry Gentlemen”; “Amano Morio” (With Us the Lord), a traditional hymn from the Syriac Maronite liturgy, whose lyrics translate to “The Lord is with us day and night”; “O Come, All Ye Faithful” in Arabic; “Sobhan Al Kalima” (Glory to the Word), another traditional hymn in Syriac (see YouTube video description for full English translation); “Mary, Did You Know”; and “Laylet Eid” (Christmas Eve), a song by Fairuz to the tune of “Jingle Bells.” Their arrangements are fantastic! (You especially have to hear what they do with that closing number; I can’t stop smiling.)

You can support the Sakhnini Brothers on Patreon and follow them on Facebook.

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PLAYLIST: Global Christmas Music YouTube Playlist: At the request of Inspiro Arts Alliance, my friend Paul Neeley, an ethnodoxologist blogging at Global Christian Worship, has curated a playlist of twenty-eight Christmas songs from around the world. Languages include French, Yoruba, English, Arabic, Gaelic, Huron, Norwegian, Nepali, German, Hindi, Thai, Italian, Urdu, Spanish, Pangasinan (Philippines), Zulu, Korean, and Swahili. Here are just two videos from the list: “The Greatest Gift,” an original rock song by Sinn Patchai from Thailand, and “Don Oíche Úd i mBeithil” (That Night in Bethlehem), a traditional Irish carol performed by Mairéad Ní Mhaonaigh.

Neeley also put together a listening guide so that you can follow along with the lyrics.

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VIRTUAL EXHIBITION: Visual Music: Calligraphy and Sacred Texts, Henry Luce III Center for the Arts & Religion: “‘Form,’ wrote Jewish-American artist Ben Shahn, ‘is the very shape of content.’ Shahn’s statement serves as the guiding principle for this exhibit. Each of these fifteen pieces, all by living artists, is a calligraphic interpretation of a text sacred to Jews, Christians, or both. Each artist has pondered their chosen text, explored it inside and outside, and provided their own rendition of it—their own ‘translation’ into visual form.”

Jonathan Homrighausen, a doctoral student in Hebrew Bible at Duke University who writes and researches at the intersection of Hebrew Bible, calligraphic art, and scribal craft, has curated this wonderful online art exhibition for the Henry Luce III Center for the Arts & Religion at Wesley Theological Seminary in Washington, DC. I spent hours viewing all the rich content on the website, including Homrighausen’s illuminating commentaries (which take us beyond a simplistic “ooh, pretty” response), and following links to learn more. From the exhibition homepage you can click on any of the images for a detailed description, detail photos, embedded videos and music, and suggested articles for further reading.

Also check out the video presentation Homrighausen gave on December 12 for the Jewish Art Salon in New York City in which he discusses five of the Hebrew Bible–based pieces on display, plus two that render rabbinic quotes. The Q&A that follows is moderated by Jewish calligrapher Judith Joseph.

Since many of my blog readers will have just read Mary’s Magnificat from Luke 1 this past Sunday (it’s one of the assigned lections for Advent 4) and we’re just a few days away from the feast of Christmas, let me share these two timely images from the exhibition:

Wenham, Martin_Magnificat (front and back)
Martin Wenham (British, 1941–), Magnificat (front and back), 2008. Paint on found pinewood, 84 × 8 1/2 in.

Ling, Manny_In the beginning was the word
Manny Ling (Chinese, 1966–), ‘In the beginning was the word’ (John 1:1), 2018. Chinese ink on paper, 11 11/16 × 16 1/2 in.

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VISUAL MEDITATION: “An Icon of Deep Incarnation” by John A. Kohan: Art collector John A. Kohan reflects on the painting Madonna of the Woods by Cypriot artist Charalambos Epaminonda, a variation on the Virgin Hodegetria type. “God took on human flesh and entered creation not just to bring you and me personal salvation or rescue the human race from sin and death, but to restore and renew the entire earth and all that is therein. Contemporary theologians in our age of ecological awareness call this concept ‘deep incarnation’ . . .”

Epaminonda, Charalambos_Madonna of the Woods
Charalambos Epaminonda (Cypriot, 1962–), Madonna of the Woods, 2011. Acrylic on canvas, 46 × 29 cm. Sacred Art Pilgrim Collection.

My Father’s House (Artful Devotion)

Siegl, Helen_Rejoice and Be Glad
Helen Siegl (Austrian, 1924–2009), Rejoice & Be Glad, 1974. Color woodcut, 30 × 30 cm. Edition of 50. Sacred Art Pilgrim Collection.

“Let not your hearts be troubled. Believe in God; believe also in me. In my Father’s house are many rooms. If it were not so, would I have told you that I go to prepare a place for you? And if I go and prepare a place for you, I will come again and will take you to myself, that where I am you may be also.”

—John 14:1–3

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SONG: “Come and Go with Me to My Father’s House” | Traditional African American | Performed under the musical direction of Dr. Markanthony Henry (on piano), with soloist Caterina Finocchi, at Iglesia Presbiteriana San Andrés (Saint Andrew’s Presbyterian Church) in Buenos Aires, Argentina, October 28, 2012

[Related posts: “‘As the bridegroom rejoices over his bride . . .’ (Artful Devotion)”; “Let Jesus Lead You (Artful Devotion)”]

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Art collector John A. Kohan has a wonderful biographical write-up about Helen Siegl on his website, Sacred Art Pilgrim—not to mention a select compilation of her art.

A devout Catholic all her life, Siegl was born in Vienna and was a teenager at the time of the Anschluss (the annexation of Austria to Nazi Germany). After the traumatic years of World War II and during the Soviet occupation of her home country, she emigrated to Canada in 1952. She got married and settled in Philadelphia, where her husband served as conservator of paintings at the Philadelphia Museum of Art. She raised eight children with him while also working as a printmaker—mostly woodcuts and linocuts. Her style blends elements of folk art and German expressionism, and her themes were often biblical.


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 Easter, cycle A, click here.

Passion prints by Alena Antonova

Alena Antonova was born in Czechoslovakia in 1930. From 1949 to 1955 she studied graphic arts at the College of Applied Arts in Prague under the acclaimed Cubist painter Emil Filla. Since then she has specialized in printmaking. The primary technique she uses is drypoint, which involves incising a picture with a needle onto a metal plate, then inking it and pressing it onto paper, but she has also done etchings, woodcuts, and linocuts. The female figure is a common theme in her work.

In 1997 Antonova created a series of very small drypoints based on New Testament episodes. Here is a selection of Passion-themed ones from the Sacred Art Pilgrim Collection.

Madonna and Child by Alena Antonova
Alena Antonova (Czech, 1930–), Madonna and Child, 1997. Tinted drypoint, 14.5 × 10 cm.

First, a Madonna and Child. This subject—Mary holding the baby Jesus—is obviously not set during Holy Week, but in her interpretation Antonova alludes to the Crucifixion by giving the infant Christ nail prints in his hands and feet. While it’s not uncommon for artists to foreshadow Jesus’s early death in Madonna and Child images by making him appear corpse-like, the overt display of wounds is something I’ve never seen before. I’ve also never seen Mary kissing baby Jesus on the lips—such a tender expression of mother love; she closes her eyes, as if to shut out the formidable omen Simeon had spoken to her at the temple. I’m not sure whether the cat playing with a ball of yarn in the background has a symbolic significance or serves only to domesticate the scene. I guess you could see it as an allusion to Jesus’s future unraveling in Gethsemane, his coming undone.

Last Supper by Alena Antonova
Alena Antonova (Czech, 1930–), The Last Supper, 1997. Tinted drypoint, 14 × 10 cm.

Fast-forward to that day, and we’re at the Last Supper. In traditional fashion, Antonova’s print shows Jesus at the head of the table, with John leaning on his shoulder. Judas is on the other end with his head in hand, stressing out about whether to go through with the betrayal; a moneybag is tied to his waist. I’m not sure where the twelfth disciple is in the picture. Maybe he’s getting drink refills.   Continue reading “Passion prints by Alena Antonova”