Showing posts with label Christianity. Show all posts
Showing posts with label Christianity. Show all posts

Tuesday, May 6, 2014

Three Voices: Anna, Mary, Mary

Anna


I waited.  How I waited. But he seemed to grow more distant, and there were so many things in the way … in my way.
Every day I pushed my way through the market place, through all that noise … of animals and birds, the cries of exchange rates and deals to be done, through the haggling and the arguments.  Under the eyes of the soldiers; watching … always watching from their tower.  Past the colonnades, the courtyards, the treasury boxes, the lampstands, into what should have been my place. 
And oh yes, even there I heard the whispers  – the gossiping voices, pitying, scorning voices – “Not as good”, “Not from one of the tribes God chose to return” – as though I was still an exile even in God’s house.
There were times they listened, though: “The word of the Lord came to Anna the prophetess…” But there were other times when no word came, and they wandered away, not interested, bored by the repetition – the wicked, the adulterous, always looking for a sign.

The Lord, my God, though, he was always there. Somewhere … somewhere beyond the crowds of men, the huddles of priests, somewhere behind that curtain. Sometimes seeming too remote, too silent, even for me to feel his presence.
I came each day.  No son to care for me since my husband died – no Sarah’s blessing, no Hannah’s blessing for me.  No daughter-in-law to scold; no grandchildren to chide. 
Just my time here.  Just my time, each day pushing my way as close to God as I was allowed.  My eyes straining through the lamplight and the night vigils.  Peering over heads – glimpsing doors and arches, altars, flickering candles, shadows, and the endless stream of worshippers.  My sight dimming with the years of waiting – a generation, a whole lifetime of waiting.
And then … I did see … something. 
A child. A baby. 
One child and his parents.  One child among many children – his parents one couple among so many who came through the years to the Temple bringing their beautiful babies, their offerings, their prayers. 


And at that moment it was as though all those years – all those obstacles, all the heartache – had fallen away.  It was as though, after years of asking and seeking … and not seeing … I was finally gazing on all the beauty of the Lord in the temple where I’d spent a lifetime waiting for him.

Mary

When I stop, my hands throb and become all of me.  I stop. 

I look at my hands in my lap – palm up.  They are rough from the grindstone, tiny hairs scorched and withered by the fire.  The joints ache – it’s worse at dawn and dusk in the cold.  They are red and swollen from washing.  I rub oil into them sometimes – oil for the lamps that I fill, the wicks I trim, the bread that I bake.  But they still throb – this is the echo of work. 

I am not good at being still.  I only set one thing down to pick up something else; even as the light slowly fades my eyes strain to stich, to mend.  My hands throb – I look at my hands in my lap – they twitch for the work they long to do.   

Sometimes the men in the village tell stories – stories of men hiding in the hills or the wilderness; stories of fighting one foreign army after another.  But my hands carry the memories of my own battles – moth, rust, decay – a house that wants to fall down, clothes that will not last another summer’s harvest, a sick brother whose body was hurtling towards death.

There were different hands.  Hands that took the jug from mine.  Hands stilling my hands.  Hands leading me to the shade of our doorway.  Hands that had been subdued by work: axe, hammer, nails.  I looked at his still hands.  I looked at his hands and sat at his feet.  I sat at his feet and listened.  And for a time there was no time.  My world shrank to his words as my hands lay still in my lap.  There I was: dwelling in his presence.

--------------------

Until my sister’s voice called my hands back – called me back to bread-making, and fire tending; to lamp-filling.  To sweeping, and stitching, and soothing the sick.  But he spoke over that battle – that, just once, it was necessary for my hands to be still.

And these things are changed now.  There is life in the bread that I bake; light for the world in the lamps that I fill; resurrection hope for the hands in my lap subdued by my work, and now by my age.  Here I am: dwelling in his presence.

Mary

I think it was his feet that I was aware of first; his feet that brought him to my sea-side town.  I must have been in the dust – I was always wrestling in those days – the claws that crept under my hair – the seven voices – speaking as one, speaking as seven.  I was always tormented in those days.

I remember his forearms, the muscles hard, sinews tense as he wrestled with me, fought for me.  The voices screaming blasphemies, calling up curses, and the sound of his name caught up and fighting with their words.  Jesus.

And then it was over.  And then I felt such peace.  Peace like a house swept clean and tidy.  Peace like a house awaiting a guest.  And he was my guest.  And now there was just one voice inside me – his voice.
What else could I do?  I followed.  We followed – 12 disciples, a handful of women.  All empty or emptied – all strangely filled.  We were all following his feet – up and down the rounds, round the lake-shore, villages and towns without number.  We were with him as he emptied and filled, emptied and filled.

And then I was aware of his feet again.  I could barely see them for my tears and his blood.  They were all I could see.  I couldn’t bring myself to look at his face – barely recognisable as it was.  And for the first time those feet were still.  No more walking, no more following.  His feet still as stone.

I was afraid.  Out there, in the darkness, I could almost hear those voices again.  My ears strained, I trembled and flinched at the slightest sound.  And we waited.  Wept and waited.

And so I went.  I went creeping my way through the darkness and the faintest glimmer of dawn.  And found his body gone.  I could have howled.  Just when he’d stopped moving – he was gone.

And then he was back.  I heard my name again – Mary – and I clung onto him, desperate to stop him moving, desperate that he should stay.  But ever so gently he left.   And now I was the one moving, my heart full of his aliveness.  I’ve never stopped.

He is with me, constantly, filling my empty house.  Gone but not gone.  Moving me – moving you?

Tuesday, February 14, 2012

The Gospel of John in Pictures: John 2: Jesus and the money-changers

Thanks to the BBC/Public Catalogue Foundation Your Paintings project for Stanley Spencer's painting Christ overturning the Money Changers' tables (1921).  This episode is recorded at the start of John's gospel: Jesus goes to Jerusalem in time for the Jewish festival of Passover.  Angered by the sale of animals for sacrifice, and the bureaux de change of those trading Roman (and therefore 'idolotrous') coinage for temple-money, Jesus drives out the animals with a whip, and overturns the tables of the money changers (John 2:13-25).  A similar/the same episode* is recorded much later in Jesus' life in other Gospels.


Now I don't know whether Spencer's painting was specifically intended to depict this episode as recorded in John's gospel but given that it was originally intended as a panel for a triptych, perhaps this picture does demand interpreting symbolically.  John's commentary on this episode is that Jesus justifies his behaviour in terms of his own death and resurrection.  And perhaps there are echoes of this in Spencer's painting: the picture flattens out the figure of Jesus and the overturning table and in doing so strips this of the physical action from the story; it become formal and stylised, and so becomes more of an icon, an image of religious devotion.  The table is blood-red, after all.  Does the size of the table, and the darkening archway beyond create a shadow of a garden tomb blocked by a heavy stone across the doorway, and does Jesus' plain white robe demand something of a shroud in our eyes?


So I'm left with an image that owes most to John's telling of the story - with its symbolic interpretation as a sign of Jesus' death and resurrection, and an delicious ambiguity as an object of devotion: here is an image challenging the systems and traditions which can cluster around religious belief and practice whilst at the same time (as an altarpiece) being one too.

* a debate for discussion elsewhere!

Wednesday, February 1, 2012

The Gospel of John in Pictures: John 5 - John the Baptist

Puvis De Chavannes' painting, The Beheading of John the Baptist ostensibly portrays the end of John's life as recorded in both Matthew 14 and Mark 6 where Herod, having held John in prison for some time, gives in to a request from Herodias' daughter Salome at a banquet and has John the Baptist beheaded.


But perhaps the painting takes its symbology from elsewhere.  The details of the narrative are there, but the scene imagined.  Salome waits with the plate, the executioner is captured in all his physicality as he swings the sword to strike.  And John, John is there transcending the moment.  His stare is elsewhere - directed towards us. His head, surrounded by a halo, gives us the clue as to the other narrative reference - intended or otherwise.  In John's gospel Jesus says: "John was a lamp that burned and gave light, and you chose for a time to enjoy his light."  And so as the sword arches towards the illuminated head of John the Baptist we have, captured in a visual moment, the extinguishing of John's light as commented upon by Jesus. 


The bitterest irony of both the comment, and its visual representation, is that Herod is specifically named as one who 'chose for a time to enjoy his light': 'Herod feared John and protected him, knowing him to be a righteous and holy man.  When Herod heard John, he was greatly puzzled; yet he liked to listen to him.' (Mark 6:20)  And so the painting telescopes too Herod's fascination, and termination, of the 'light' of John the Baptist.


Finally, the painting depicts the end of John's life but by depicting John in the clothes he wore at the beginning of his preaching:  'John’s clothes were made of camel’s hair, and he had a leather belt around his waist.' (Matthew 3:4) this picture takes us back to the start of his life.  And John's clothes reach back farther into the past than that: they are the clothes which the Old Testament prophet Elijah wore (see 2 Kings 1:8), a prophet whom Jesus explicitly identifies with John (see Matthew 11:13 and Malachi 4:5). 


So this image encompasses the whole of John's life, and his past as viewed prophetically by Jesus, and in his posture - his hands open in acceptance, his pose echoing so many of those images of Jesus himself at the point of trial and execution - this points forward to another execution too.  As Herod himself is reported to have said of Jesus, after the execution of John the Baptist: “This is John the Baptist; he has risen from the dead! That is why miraculous powers are at work in him.” (Matthew 14:2)

Friday, December 23, 2011

The Gospel of John in Pictures: John 1: Nathanael

I started writing about images depicting episodes from John's Gospel much earlier in the year.  Here is another.  Mark Cazalet's Nathaniel (asleep under the fig tree)* does and doesn't portray a visionary moment from John.  Philip, already a disciple of Jesus, persuades Nathanael to come with him to meet Jesus:
When Jesus saw Nathanael approaching, he said of him, Here is a true Israelite, in whom there is nothing false.
How do you know me? Nathanael asked. Jesus answered, I saw you while you were still under the fig-tree before Philip called you.
Then Nathanael declared, Rabbi, you are the Son of God; you are the King of Israel.
Jesus said, You believe because I told you I saw you under the fig-tree. You shall see greater things than that.
He then added, I tell you the truth, you shall see heaven open, and the angels of God ascending and descending on the Son of Man.  John 1:47-51
Unlike Cazalet's painting the narrative doesn't suggest that Nathanael was asleep but perhaps what Cazalet's image is doing is intensifying and compressing into a single 'moment' some of the allusions already playing out in the narrative.  Jesus' statement about 'the angels of God ascending and descending' sends his readers back to Genesis 28:10-22 and Jacob's dream at Bethel of a stairway to heaven, with angels ascending and descending on it; in John's gospel Jesus himself is the stairway to heaven.  And perhaps by depicting Nathanael as asleep under the fig-tree, Cazalet gives us a visual reminder of sleeping Jacob, where the text of the gospel gives us a written one.

* The conditions of use of the The Methodist Church Collection of Modern Christian Art mean that I can't use the image directly within this blog but I hope that you'll follow the link and appreciate both this painting, and the many other beautiful things in the collection.

Friday, September 9, 2011

'Seeing' religious art

Some interesting discussion on The Guardian's Cif Belief pages at the moment responding to the question 'Do we need faith to see religious art?'  Here's a brief quote from Catherine Pepinster's response:
Is [religious art] really appreciated by those who don't believe? Can they fully understand it, indeed conceive of these other minds in another time and place where faith held sway?

That must depend on the extent to which the viewer can accept the possibility of the divine, or the existence of the religious impulse. I suspect that there is a growing tendency, for all Richard Dawkins's efforts, for people to accept that there is such an impulse.

Wednesday, December 8, 2010

A Christmas Carol

Re-reading Charles' Dickens A Christmas Carol at the moment.  I've been reflecting on what sort of Christianity it reveals.  In the basic 'moral' of the story, Scrooge's Zacchaeus-like (see Luke 19) conversion from "the love of money [which] is a root of all kinds of evil" (1 Timothy 6:10) to open-handed generosity, the narrator demonstrates a high regard for the New Testament's ethical teaching. 

Elsewhere, there is a degree of scepticism towards some of the manifestations of institutional Christianity, as in this conversation between Scrooge and the second of the Three Spirits (the ghost of Christmas Present):
In time the bells ceased, and the bakers were shut up; and yet there was a genial shadowing forth of all these dinners and the progress of their cooking, in the thawed blotch of wet above each baker’s oven; where the pavement smoked as if its stones were cooking too.
      ‘Is there a peculiar flavour in what you sprinkle from your torch?’ asked Scrooge.
      ‘There is. My own.’
      ‘Would it apply to any kind of dinner on this day?’ asked Scrooge.
      ‘To any kindly given. To a poor one most.’
      ‘Why to a poor one most?’ asked Scrooge.
      ‘Because it needs it most.’
      ‘Spirit,’ said Scrooge, after a moment’s thought, ‘I wonder you, of all the beings in the many worlds about us, should desire to cramp these people’s opportunities of innocent enjoyment.’
      ‘I!’ cried the Spirit.
      ‘You would deprive them of their means of dining every seventh day, often the only day on which they can be said to dine at all,’ said Scrooge. ‘Wouldn’t you?’
      ‘I!’ cried the Spirit.
      ‘You seek to close these places on the Seventh Day?’ said Scrooge. ‘And it comes to the same thing.’
      ‘I seek!’ exclaimed the Spirit.
      ‘Forgive me if I am wrong. It has been done in your name, or at least in that of your family,’ said Scrooge.
      ‘There are some upon this earth of yours,’ returned the Spirit, ‘who lay claim to know us, and who do their deeds of passion, pride, ill-will, hatred, envy, bigotry, and selfishness in our name, who are as strange to us and all our kith and kin, as if they had never lived. Remember that, and charge their doings on themselves, not us.’
      Scrooge promised that he would;
True Christianity, within A Christmas Carol, is found in an everyday practical care for the poor and not pious legalism, perhaps reflecting Jesus' comment: "The poor you will always have with you" (Matthew 26:11).  Sunday is not kept sacred by taking away the possibility of a hot meal from the deprived.  Elsewhere, there's an echo of Jesus' identification of being a Christian with care for the poor: ‘Truly I tell you, whatever you did for one of the least of these brothers and sisters of mine, you did for me.’ (Matthew 25:40):
‘And how did little Tim behave?’ asked Mrs. Cratchit, when she had rallied Bob on his credulity, and Bob had hugged his daughter to his heart’s content.
      ‘As good as gold,’ said Bob, ‘and better. Somehow he gets thoughtful, sitting by himself so much, and thinks the strangest things you ever heard. He told me, coming home, that he hoped the people saw him in the church, because he was a cripple, and it might be pleasant to them to remember upon Christmas Day, who made lame beggars walk, and blind men see.’
      Bob’s voice was tremulous when he told them this, and trembled more when he said that Tiny Tim was growing strong and hearty.
So, for me, Dickens' morality tale portrays a Christianity strongly rooted in practical ethical action towards an ever-present poor - heaven in ordinary once more.

Tuesday, November 30, 2010

Life, Interrupted

Historical studies of the life of Jesus leave us with the enigma of the end of his life - that his followers believed that he had risen from the dead:

Much about the historical Jesus will remain a mystery.  Nothing is more mysterious than the stories of his resurrection, which attempt to portray an experience that the authors could not themselves comprehend.  But in the midst of mystery and uncertainty, we should remember that we know a lot about Jesus.  We know that he started under John the Baptist, that he had disciples, that he expected the 'kingdom', that he went from Galilee to Jerusalem, that he did something hostile against the Temple, that he was tried and crucified.  Finally we know that after his death his followers experienced what they described as the 'resurrection': the appearance of a living but transformed person who had actually died.  They believe this, they lived it, and they died for it.  In the process they created a movement, a movement that in many ways went far beyond Jesus' message.  Their movement grew and spread geographically.
E.P. Sanders, The Historical Figure of Jesus
The early Christian communities soon began to ask their leaders how they would share in the resurrection experience of Jesus; Paul writes:  'But someone will ask, “How are the dead raised? With what kind of body will they come?”' (1 Corinthians 15:35).

The artist Stanley Spencer, in paintings such as The Resurrection with the Raising of Jairus’s Daughter or The Resurrection, Cookham, pictured this resurrection experience in terms of the every day.  The dead clamber out of their tombs in much the same condition as they entered them, dressed in contemporary clothes.  Life, interrupted, appears to continue on much the same terms.  For Spencer, resurrection seems to be less transcendental and more part of our present, lived experience.