Easter, Day 7: Creation Blooms Anew

LOOK: Magnolias by Stanley Spencer

Spencer, Stanley_Magnolias
Stanley Spencer (British, 1891–1959), Magnolias, 1938. Oil on canvas, 22 × 26 in. (56 × 66 cm). Private collection.

LISTEN: “Creation Blooms Anew” by Nick Chambers, 2020

Again your Spirit sweeps,
a wind over the deep;
a new creation now arrives
to rouse us from our sleep.

The breath of heaven brings
the long-awaited spring
into the fields and seas and skies
and every barren thing.

Refrain:
Creation blooms anew
in fresh and joyful hue.
In Christ’s arising all things rise
to draw their breath from you.

Awaken by the sound
of forging swords into plows.
Come fill the Garden with your light,
and we will till the ground.

The earth is being cleared
for heaven to come near.
From every depth an eager sigh
is all that we can hear. [Refrain]

Nick Chambers [previously] is the worship pastor at Church of the Incarnation in Atlanta and a singer-songwriter whose debut album, Great Cloud, released last year. “Creation Blooms Anew” is not part of that LP, but he shared it on YouTube in 2020. It was inspired by a hymn of Adam of St. Victor, a major Latin-language poet from twelfth-century France:

Earth blooms afresh in joyous dyes;
In Christ’s arising all things rise;
A solemn joy o’er nature lies;
Alleluia!

Now peace the sea, the sky doth fill;
Heav’n’s breath wakes fair each vale and hill;
Spring pours through barren hearts and chill;
Alleluia!

Life wins from death the glorious prey;
The cherub’s sword is turned away,
And Eden’s paths are free today;
Alleluia!

Trans. A. M. E., 1884

Memories of his family’s first Easter in Atlanta in 2017 also influenced the song. “More than anything I remember the magnolia flowers,” Chambers said, “bright white and big as our baby’s head. The branches bent with the weight of them, swinging like bells welcoming us into a new home, a new season of life.”

Chambers reflects further on the image of flowering:

Norman Wirzba, in one of his many reflections on gardening, writes, “It is significant that the material context for creation and for redemption should be a garden, for it is precisely through gardening that we most experience ourselves as created beings, as beings tied to a magnificent creation and to God. . . . [The writer of Genesis 2] is clear that we become authentic and truly fulfill our vocation as we learn to care for the garden which is creation itself.” He continues, “Gardens have long been a place of spiritual nourishment, because it is here that we can sense the vivifying and gracious power of the creator at work in the creation. Without much help from us, and sometimes in spite of our worst efforts, we can plainly see that we are in the presence of a life- and death-wielding power that overcomes and envelops us all” (The Paradise of God, 117).

In the beginning, God creates humanity to till the ground in a garden. Christ suffers anguish and grief in a garden, then to be resurrected in a garden and even mistaken for its caretaker. The story comes to its endless ending in a garden—steady streams in the shade of trees thick with healing leaves. We live from this past into this future, ourselves like flowers nourished by soil and bending toward the sun. Here and now, Easter invites us into this vision, into the wild surprises of spring to be both gardeners and the garden itself.

Advent, Day 12

In the days of King Herod of Judea, there was a priest named Zechariah, who belonged to the priestly order of Abijah. His wife was a descendant of Aaron, and her name was Elizabeth. Both of them were righteous before God, living blamelessly according to all the commandments and regulations of the Lord. But they had no children, because Elizabeth was barren, and both were getting on in years.

Once when he was serving as priest before God and his section was on duty, he was chosen by lot, according to the custom of the priesthood, to enter the sanctuary of the Lord and offer incense. Now at the time of the incense offering, the whole assembly of the people was praying outside. Then there appeared to him an angel of the Lord, standing at the right side of the altar of incense. When Zechariah saw him, he was terrified; and fear overwhelmed him. But the angel said to him, “Do not be afraid, Zechariah, for your prayer has been heard. Your wife Elizabeth will bear you a son, and you will name him John. You will have joy and gladness, and many will rejoice at his birth, for he will be great in the sight of the Lord. He must never drink wine or strong drink; even before his birth he will be filled with the Holy Spirit. He will turn many of the people of Israel to the Lord their God. With the spirit and power of Elijah he will go before him, to turn the hearts of parents to their children, and the disobedient to the wisdom of the righteous, to make ready a people prepared for the Lord.” Zechariah said to the angel, “How will I know that this is so? For I am an old man, and my wife is getting on in years.” The angel replied, “I am Gabriel. I stand in the presence of God, and I have been sent to speak to you and to bring you this good news. But now, because you did not believe my words, which will be fulfilled in their time, you will become mute, unable to speak, until the day these things occur.”

Meanwhile the people were waiting for Zechariah, and wondered at his delay in the sanctuary. When he did come out, he could not speak to them, and they realized that he had seen a vision in the sanctuary. He kept motioning to them and remained unable to speak. When his time of service was ended, he went to his home.

After those days his wife Elizabeth conceived, and for five months she remained in seclusion. She said, “This is what the Lord has done for me when he looked favorably on me and took away the disgrace I have endured among my people.”

—Luke 1:5–25

LOOK: Zacharias and Elizabeth by Stanley Spencer

Spencer, Stanley_Zacharias and Elizabeth
Stanley Spencer (British, 1891–1959), Zacharias and Elizabeth, 1913–14. Oil and graphite on canvas, 142.6 × 142.8 cm. Tate Britain, London.

The modern British artist Stanley Spencer is famous for his paintings depicting the New Testament narrative unfolding in his small village of Cookham on the River Thames. The English countryside was a balm for him after his return from World War I, as in it he sensed the Divine. “Quite suddenly I became aware that everything was full of special meaning, and this made everything holy,” he said. “The instinct of Moses to take his shoes off when he saw the burning bush was very similar to my feelings. I saw many burning bushes in Cookham. I observed the sacred quality in the most unexpected quarters.”

Like Spencer’s other biblical paintings, Zacharias and Elizabeth features people and places that were familiar to him. Tate Britain, the museum that owns the work, describes it like this:

In the foreground of the composition is Zacharias, an elderly male figure dressed in white who is holding a pair of tongs over a flame, while another aged male, also wearing white – the Archangel Gabriel – approaches him stealthily from behind. The figure of Zacharias is also repeated in the background of the painting: behind a wood and metal fence, staring blankly outward while the auburn-haired Elizabeth stands to his right with her arms outstretched. A large, smooth, curved wall divides the painting vertically, separating these two scenes. The figure of Elizabeth appears again behind the wall, with only her upper body visible. Two further figures are also depicted in the painting: a gardener who resembles traditional representations of both Jesus and John the Baptist is seen at the right dragging an ivy branch, a conventional symbol of everlasting life and Resurrection, and an unidentified woman wearing a dark claret dress kneels behind a gravestone while touching the curved dividing wall with her right hand.

Art critic and curator Sarah Milroy interprets this woman in the left midground as a surrogate for Spencer. She writes,

In childhood, Spencer believed that the Bible stories his father read aloud to the family at night could be glimpsed in Cookham, if only he could get a peek over top of the cottage walls. The little girl with her feverish, ember-red eyes, spying on the holy scene from her hiding place behind the curved white wall, serves as a stand-in for the artist himself.

For another meditation I wrote on a Spencer painting, see “Resurrection Now,” part of the Visual Commentary on Scripture project.

LISTEN: “Zechariah and the Least Expected Places” by Ben Thomas, on The Bewildering Light by So Elated (2008)

Jerusalem and the holy temple filled with smoke
Zechariah shuns the news from the angel of hope
Stuck behind an incense cloud of religion and disappointment

God keeps slipping out of underneath rocks
In alleys off the beaten path
Open both your eyes

Prophets and kings and poets can contribute their work
Just like eggs in a nest are alive with the promise of birds
But the Lord of creation will not be subjected to expectation

God keeps slipping out of underneath rocks
In alleys off the beaten path
Open both your eyes

Elizabeth, barren, her knees black and dirty like coal
Her consistent prayers float to the sky and revive her soul
God, we will wait though we don’t understand your redemptive story

God keeps slipping out of underneath rocks
In alleys off the beaten path
Open both our eyes

Wake Up, Rise (Artful Devotion)

Spencer, Stanley_The Resurrection (Waking Up) (detail)
Stanley Spencer (British, 1891–1959), The Resurrection: Waking Up (triptych, detail), 1945. Oil on canvas, center panel 30 × 20 in. (76.2 × 50.8 cm), side panels 20 × 30 in. (50.8 × 76.2 cm). Private collection. Photo © Christie’s Images. Source: SACRED NOISE e-catalog (London, 2018).

“Awake, O sleeper,
and arise from the dead,
and Christ will shine on you.”

—Ephesians 5:14

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SONG: “Wake Up, Oh Sleeper” by David Nasser, Jonathan Shelton, Mac Powell, and Shane Barnard

Live performance from 2009 by Third Day:

Studio recording by Jason Crabb, Jonathan Shelton, and Bear Rinehart, on Glory Revealed II (2009):


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 Fourth Sunday of Lent, cycle A, click here.

Turn Over the Tables (Artful Devotion)

Christ Overturning the Money Changers' Table by Stanley Spencer
Stanley Spencer (British, 1891–1959), Christ Overturning the Money Changers’ Table, 1921. Oil on canvas, 74 × 60 cm. Stanley Spencer Gallery, Cookham, England.

When it was almost time for the Jewish Passover, Jesus went up to Jerusalem. In the temple courts he found people selling cattle, sheep, and doves, and others sitting at tables exchanging money. So he made a whip out of cords, and drove all from the temple courts, both sheep and cattle; he scattered the coins of the money changers and overturned their tables. To those who sold doves he said, “Get these out of here! Stop turning my Father’s house into a market!” His disciples remembered that it is written: “Zeal for your house will consume me.”

—John 2:13–17 (cf. Matthew 21:10–13)

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SONG: “Turn Over the Tables in My Heart” by Wesley Randolph Eader, on Of Old It Was Recorded (2012) [Chord chart]

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Hosanna! Welcome to our hearts! Lord, here
Thou hast a temple too; and full as dear
As that of Sion, and as full of sin:
Nothing but thieves and robbers dwell therein:
Enter, and chase them forth, and cleanse the floor:
Crucify them, that they may never more
Profane that holy place
Where Thou hast chose to set Thy face!

—Jeremy Taylor (1613–1667)

Savior, who dost with anger see
The lusts which steal my heart from thee,
The thieves out of thy temple chase,
And plant thy Spirit in their place,
And when my God inhabits there,
My heart shall be thine house of prayer.

—Charles Wesley, from Short Hymns on Select Passages of the Holy Scriptures (1762)


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 of Lent, cycle B, click here.