Visual Commentary on Scripture - Lent Stations: Community

For the season of Lent the Visual Commentary on Scripture will share 14 selected artworks and commentaries on the theme of Community, introduced below by VCS Director Ben Quash.

Click below to visit the first Lent Station, titled 'You Shall Eat the Plants of the Field':
Station 1: You Shall Eat the Plants of the Field

Lent Stations: Community

One of the traditional Christian practices in Lent, along with prayer and fasting, is almsgiving. It’s easy to read the giving of alms as a mere financial transaction; more specifically (and worse) to see it as nothing more than rich people patronising poor people with their money. This has also infected some of our reactions to the word ‘charity’. We hear this in the understandable protest: ‘I don’t want your charity!’. Surely justice would be better; a fair chance for all.

But the full sense (often forgotten) of charity has its roots in the Latin word caritas, and this means something to which justice is just as central as mercy. Properly understood, charity means living in love and in right relationship with one’s neighbour. It means being in community. The Lenten practice of almsgiving sits in this wider context of practices that strengthen the bonds of community.

Indeed, in some cultures, the giver of alms is required to deliver their gift upwards into the hand of the recipient—a hand which is held over theirs. This makes the giver humble and dignifies the recipient. It opens a whole new perspective on ‘giving up’ something for Lent!

This year’s VCS Lenten series of artworks and associated commentaries is centred on the theme of community, something as urgently needed as ever in a fractured world.

Anyone subscribed to the VCS 𝐄𝐱𝐡𝐢𝐛𝐢𝐭𝐢𝐨𝐧 𝐨𝐟 𝐭𝐡𝐞 𝗪𝐞𝐞𝐤 will receive Lent emails twice a week, directly to their inbox. Click on the link to sign up now: https://thevcs.org/sign-vcs-emails

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

My fourth exhibition was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

My fifth exhibition reflects on 1 Thessalonians 2:17–4:12. It is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

For more on the artists included in these exhibitions click on the following links: Antoine Camilleri, John Reilly, Stanley Spencer, William Blake, Arthur Boyd, Peter Howson, Colin McCahon, Damien Hirst, John Bellany, and Paul Thek.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

The VCS has a daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

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Forty Days and Forty Nights.

Visual Commentary on Scripture - Advent: Hope, Peace, Joy, and Love & Bible and Art Daily

This Autumn, the Visual Commentary on Scripture launched Bible and Art Daily, a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it takes you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

Two of the commentaries I have written for the VCS have featured in a Bible and Art Daily episode so far. The first, 'Yet To Come', featured in the series on 'Picturing the Trinity'. This commentart comes from my exhibition 'A Question of Faith' which explores Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Picturing the Trinity' is described as follows: 'There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).'

The second commentary used that I have written has been included in the Series 'Trees of Life'. Episode 7 of 14: 'The Ground of Rebirth' has artwork by Arthur Boyd from my 'Back from the Brink' on Daniel 4. The image included is 'Nebuchadnezzar's Dream of the Tree'. The 'Trees of Life' Series is described as follows: 'The Christian story of salvation begins and ends with trees. The forbidden fruit of the Tree of the Knowledge of Good and Evil in Eden, once eaten, initiates a long pilgrimage through time, which will culminate in a heavenly city with a tree at its heart, whose leaves are ‘for the healing of the nations’.'

This year, the Advent programme from the VCS has had a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they have sent their Exhibition of the Week subscribers an email every Monday from December 1st, with links to seven different works of art and commentaries for each day of the week. The idea is to think of it as a traditional Advent calendar! Each of the four weeks has had a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week receives the weekly Advent emails. Their hope has been that we enjoy journeying towards Christmas with the help of these works of art. Sign up here for their Exhibition of the Week email.

The first week's commentaries included 'To Our Hopes', another of the commentaries from my exhibition 'A Question of Faith'. The most recent email reveals that the image chosen for Christmas Day is from my most recent exhibition for VCS.  Reflecting on 1 Thessalonians 2:17–4:12, the exhibition is called 'Establishing the Heart' and includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer. The image chosen for Christmas Day is John Reilly's 'Holy Family'.

John Reilly’s ambition was "always been to paint a picture which perfectly weds form and content” in order “to express in visible form the oneness and unity of [the] invisible power binding all things into one whole.” I was fortunate enough to meet him at his home on the Isle of Wight, while there on a family holiday. I didn’t know of his work before going on that holiday but found cards and prints of his amazing work in some of the shops there and had to find out more. He was kind enough to invite me into his home and show me his work and works in progress.

He has said: "My paintings are not concerned with the surface appearance of people or things but try to express something of the fundamental spiritual reality behind this surface appearance. I try to express in visible form the oneness and unity of this invisible power, binding all things into one whole. I try to express something of the universal and timeless truths behind the stories of the Bible.”

So, for Reilly, the unseen reality manifests itself both through pattern - “the oneness and unity of this invisible power, binding all things into one whole” - and through story - “the universal and timeless truths behind the stories of the Bible”. He has also used the greater freedom of expression that modern movements in art have given to artists to develop a visual language of forms and colours which he hopes expresses “something of their deeper spiritual significance.” His work draws on cubism, fauvism and orphism in particular.

Reilly has made a profound use of the circle in his work in order to depict the wholeness that he finds in the world and the life that God has created. He frequently bases his works on a central circle (often, the sun) from which facets of colour emanate, like ripples on the surface of a stream. The painting’s imagery is then set within these facets, each figure or object being embedded in the overall patterning of the painting and related to the environmental whole that Reilly creates.

By these means fragments of form and colour (the facets of the painting’s patterning) and the images that they contain are united to circle harmoniously around and within God, the central life and intelligence which is the light of the world. Works such as ‘Life Eternal’ utilise these methods and meanings and both contain and convey huge energy and resolution as a result.

His technique of colour fragments emanating from a central source enables him to suggest that his archetypal images of creation and the landscape are both, filled with the emanating rays and linked by them into a unified circle. His paintings (including 'Life Eternal’) therefore suggest the way in which we are linked both by being the creation of God and by being indwelt by his spirit.

The obituary I wrote for Reilly and my review of 'The Painted Word: Paintings by John Reilly' can both be found in the 'Church Times' Digital Archive.  

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My exhibitions for the VCS are:

'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Arvo Pärt - Christmas Lullaby.

Visual Commentary on Scripture - Advent: Hope, Peace, Joy, and Love

Advent: Hope, Peace, Joy, and Love

This year's Visual Commentary on Scripture Advent programme has a slightly different look than those from previous years. Instead of daily emails for the duration of Advent, they will be sending their Exhibition of the Week subscribers an email every Monday starting December 1st, with links to seven different works of art and commentaries for each day of the week. Think of it as a traditional Advent calendar! Each of the four weeks has a different theme, starting with Hope, then Peace, followed by Joy, and ending with Love in the week of Christmas.

Anyone subscribed to their Exhibition of the Week will receive the weekly Advent emails. They hope you enjoy journeying towards Christmas with the help of these works of art.

Sign up for their Exhibition of the Week

The first week's commentaries include one of the commentaries from my exhibition 'A Question of Faith' which explores Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art. 

Another of the commentaries from this exhibition featured recently in a Bible and Art Daily episode from VCS. This commentary featured in the series on Picturing the Trinity: There are perils and peculiarities involved in visually depicting the Holy Trinity. Christianity insists that divinity is invisible, even if Jesus in his humanity reveals God’s purposes and presence. And the Bible’s multiplicity of images of what God might be ‘like’ forbid settling on any one as descriptively adequate. Some visual art has risked anthropomorphizing God; some has experimented with oblique or abstract modes of signification, recognizing that God ‘dwells in unapproachable light, whom [no one] has ever seen or can see’ (1 Timothy 6:16).

Bible and Art Daily is a new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, it will take you on a series of journeys through the world of Scripture and the history of art. The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My other exhibitions for the VCS are:

• 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.
• 'Fishers of People' which uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.
• 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.
• Reflecting on 1 Thessalonians 2:17–4:12, 'Establishing the Heart' includes works of art by Antoine Camilleri, John Reilly and Stanley Spencer. This exhibition explores how pleasing God in our everyday lives - by living quietly, minding our own affairs, and working with our hands - leads us to see life, work and art as prayer.

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Josh Garrels - Pilot Me.

Visual Commentary on Scripture: Bible and Art Daily

The Visual Commentary on Scripture is launching a brand new daily email exploring the Bible through art. Through concise but vivid day-by-day encounters, Bible and Art Daily will take you on a series of journeys through the world of Scripture and the history of art.

The VCS have spent the last year bringing together experts in theology and art history to carefully curate a treasury of week-long series, each exploring a particular theme, an artistic medium, or a biblical character. Find out more and subscribe here.

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries. The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

Find out more about the VCS, its exhibitions and other resources through a short series of HeartEdge workshops introducing the VCS as a whole and exploring particular exhibitions with their curators. These workshops can be viewed here, here, here and here.

My first exhibition for the VCS was 'Back from the Brink' on Daniel 4: 'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33). In the exhibition I explore this chapter with William Blake's 'Nebuchadnezzar', 1795–c.1805, Arthur Boyd's 'Nebuchadnezzar's Dream of the Tree', 1969, and Peter Howson's 'The Third Step', 2001.

My second exhibition was 'A Question of Faith' and explored Hebrews 11 through the paintings of New Zealand artist Colin McCahon. McCahon is widely recognised as New Zealand’s foremost painter. Over 45 years, his work encompassed many themes, subjects and styles, from landscape to figuration to abstraction and an innovative use of painted text. His adaption of aspects of modernist painting to a specific local situation and his intense engagement with spiritual matters, mark him out as a distinctive figure in twentieth-century art.

My third exhibition was 'Fishers of People'. This exhibition uses Damien Hirst's 'Isolated Elements Swimming in the Same Direction for the Purpose of Understanding (Left) and (Right)', John Bellany's 'Kinlochbervie', and Paul Thek's 'Fishman in Excelsis Table' to discuss Matthew 4:12-22 and Mark 1:14-20. These artworks give us what is essentially a collage of the kingdom whereby we are invited to imagine the kingdom of God as a body of water in which Christians are immersed and through which they are raised.

The fourth exhibition I curated for the VCS was 'Before the Deluge', a series of climate-focused commentaries on Genesis 6 looking at 'The Flood' by Norman Adams, 'Noah in the Ark and a Church' by Albert Herbert, and 'Noah's Ark' by Sadao Watanabe.

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The Ocean Blue - Sublime.

Visual Commentary on Scripture: Back from the Brink

This week’s Visual Commentary on Scripture exhibition is 'Back from the Brink' on Daniel 4.

'Immediately the word was fulfilled upon Nebuchadnezzar. He was driven from among men, and ate grass like an ox, and his body was wet with the dew of heaven till his hair grew as long as eagles’ feathers, and his nails were like birds’ claws.' (Daniel 4:33)

Explore this chapter with William Blake's Nebuchadnezzar, 1795–c.1805, Arthur Boyd's Nebuchadnezzar's Dream of the Tree, 1969, and Peter Howson's The Third Step, 2001.

Links to the individual works and their associated commentaries are shared daily during the first part of the week on @TheVCS (Twitter) and @www.theVCS.org (Facebook) so that you can focus on them one at a time. A link to the longer ‘comparative commentary’ follows on Thursdays.

'Back from the Brink' is the first VCS exhibition that I have prepared. 

In a small example of synchronicity I am currently reviewing the 'Lucas Cranach: Artist and Innovator' exhibition at Compton Verney. The medieval legend of the penance of St John Chrysostom may well have been influenced by the story of Nebuchadnezzar, as told in Daniel 4. Blake based Nebuchadnezzar’s pose in his print on Albrecht Dürer’s late fifteenth-century woodcut showing this medieval legend. The Cranach exhibition includes an engraving also based on Dürer’s woodcut. This engraving has recently inspired a work by Raquib Shaw, which is the same show. So, I am writing about these two pieces in the same week that these related images are being featured on the VCS site.

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Arvo Pärt - Sabat Mater.

God was with them as they went through

Here's my reflection for today's lunchtime Eucharist for St Martin-in-the-Fields:

But now thus says the Lord, / he who created you, O Jacob, / he who formed you, O Israel: / Do not fear, for I have redeemed you; / I have called you by name, you are mine. / When you pass through the waters, I will be with you; / and through the rivers, they shall not overwhelm you; / when you walk through fire you shall not be burned, / and the flame shall not consume you.

These words from the beginning of Isaiah 43 are emblematic of the story we have heard today of Shadrach, Meshach and Abednego in the Fiery Furnace (Daniel 3). Their experience was of God with them as they passed through the flames; their time of trial and trouble. King Nebuchadnezzar and his counsellors saw four men unbound, walking in the middle of the fire; and the fourth had the appearance of a god. God was with them as they went through their trial.

That is the story of the People of Israel; God was with them as they went through the waters of the Red Sea, God was with them as they went through the wilderness, God was with them as the crossed the waters of the Jordan into the Promised Land, and God was with them again as they went into exile in Babylon.

God was with them as they went through. That was their experience; an experience that they extended even into the experience of death itself. So, they sang with the Psalmist, ‘Even though I walk through the darkest valley, / I fear no evil; / for you are with me; / your rod and your staff— / they comfort me.’

Jesus came as Emmanuel, God with us, in order that we know that God is with us in all of life, not simply in the times of trial. For 90% of his time among us he lived an ordinary life as a child and young adult in Nazareth, that we might see God with us in every aspect of our day to day lives. He then experienced torment and trial himself, even unto death, as assurance that God remains with us in those times of trial too.

It was this reality that those he encountered in his ministry found hard to understand (John 8. 31-42). The reality of God being with us is what Jesus had experienced in God’s presence and is what he was sent into our world to show and share. We can readily understand why those encountering Jesus had difficulty in understanding, as their expectations of a Messiah had been shaped by dramatic stories of presence, such as that of Shadrach, Meshach and Abednego in the Fiery Furnace. They were looking for one who looked like a god and instead got Jesus, an ordinary man growing up in an ordinary family in an ordinary town. His ordinariness was a stumbling block to many and yet was the key to understanding what God was doing through the incarnation; as it was for understanding what God was revealing through the incarnation.

We continue in Jesus’ word and know the truth when we recognise the reality of God with us in our lives and world, especially in our trials and troubles, and as we seek to be the hands and feet, eyes and ears of God in our world by being with others. Being with is what Shadrach, Meshach and Abednego experienced of God in the fiery furnace and is what God revealed to us through Jesus. Being with others is then our response to all that we have received from God.

We gain comfort from these stories by remembering that God is with us in our time of trial, as was the case with Shadrach, Meshach and Abednego. God will go through this time of trial with us, whatever it entails for us. We experience challenge through these stories as we explore what it means today to continue in Jesus’ word, life and truth by finding ways to be with others at this time.

‘thus says the Lord, / I have called you by name, you are mine. / When you pass through the waters, I will be with you; / and through the rivers, they shall not overwhelm you; / when you walk through fire you shall not be burned, / and the flame shall not consume you.’

‘Jesus said to the Jews who had believed in him, ‘If you continue in my word, you are truly my disciples; and you will know the truth, and the truth will make you free.’

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Sofia Gubaidulina - The Canticle of the Sun of St Francis of Assisi part I.

Visual Commentary on Scripture: Back from the Brink

I'm very pleased to see that the exhibition I've prepared for the Visual Commentary on Scripture (VCS) has just been published. 

The VCS is a freely accessible online publication that provides theological commentary on the Bible in dialogue with works of art. It helps its users to (re)discover the Bible in new ways through the illuminating interaction of artworks, scriptural texts, and commissioned commentaries.

The VCS combines three academic disciplines: theology, art history, and biblical scholarship. While the project’s main commitment is to theology, it is responsibly informed by the latter two disciplines.

Each section of the VCS is a virtual exhibition comprising a biblical passage, three art works, and their associated commentaries. The curators of each exhibition select artworks that they consider will open up the biblical texts for interpretation, and/or offer new perspectives on themes the texts address. The commentaries explain and interpret the relationships between the works of art and the scriptural text.

The virtual exhibitions of the VCS aim to facilitate new possibilities of seeing and reading so that the biblical text and the selected works of art come alive in new and vivid ways.

'Back from the Brink', the exhibition I have prepared explores Daniel 4, the story of Nebuchadnezzar's Second Dream and subsequent humiliation, through images by William Blake, Arthur Boyd and Peter Howson. 

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Victor Vertunni Family & Friends - Holy Thursday.

A developing understanding of resurrection

Here is my sermon from Wednesday's Eucharist at St Martin-in-the-Fields:

This is a story about interpretation of scripture (Mark 12. 18-27), which is possibly as important for our understanding for what it reveals about ways of interpreting scripture, as for what it says about resurrection.

The Biblical scholar Tom Wright has noted that: ‘Resurrection was a late arrival on the scene in classic biblical writing … Much of the Hebrew Bible assumes that the dead are in Sheol …“The dead do not praise the Lord, nor do any that go down into silence” (Psalm 115:17). Clear statements of resurrection are extremely rare. Daniel 12 is the most blatant, and remembered as such for centuries afterwards: “Many of those who sleep in the dust of the earth shall awake, some to everlasting life, and some to shame and everlasting contempt” (Daniel 12:2). Daniel is, however, the latest book of the Hebrew Bible.’

In Jesus’ day: ‘There was within Judaism a considerable spectrum of belief and speculation about what happened to dead people in general, and to dead Jews in particular. At one end were the Sadducees, who seem to have denied any doctrine of post-mortem existence (Mark 12:18; Josephus, War 2:165). At the other were the Pharisees, who affirmed a future embodied existence, and who seem to have at least begun to develop theories about how people continued to exist in the timelag between physical death and physical resurrection. And there are further options. Some writings speak of souls in disembodied bliss, some speculate about souls as angelic or astral beings, and so forth.‘

‘The Sadducees rejected the Oral Law as proposed by the Pharisees’ and ‘saw the written Torah as the sole source of divine authority.’ They insisted that the traditions did not contain this newfangled doctrine and that resurrection was not taught in the Torah itself. Their question to Jesus was based on the literal application of a commandment from the Torah and was ‘designed to make belief in a resurrection look foolish by proposing a dilemma it might entail.’ (Timothy J. Geddert, Mark, Herald Press)

In his reply to the Sadducees’ question Jesus goes back to the Torah itself (the five books of Moses) which were the only ones the very conservative Sadducees regarded as really authoritative, and stated that ‘God defines himself there in terms of his relationship to Abraham, Isaac, and Jacob.’ The underlying point was that ‘God would not define himself in relationship to people who were now non-existent.’ Therefore, Jesus implies or leaves unstated the remaining move in the argument that ‘if they are alive this must be because God will in fact raise them from the dead.’

Jesus therefore disagrees with a literal argument about scripture based on the earliest texts and affirms an emerging doctrine which only appears clearly in the last book of the Hebrew Bible. What he is affirming is an evolving revelation from God in scripture which develops or adds to or changes earlier interpretations and understandings.

The extent to which God’s revelation is fixed or emerging is one which continues to be debated within the Church and is a key ground on which debates about women’s ordination and human sexuality take place. What rarely seems to feature in these debates are the approaches to interpretation of scripture used by Jesus, the disciples and the Early Church, which are often very different from standard ways of interpreting scripture used today, particularly those which attempt to fix understandings of scripture for all time through literal interpretations. Here Jesus clearly teaches a later, newer doctrine which does not appear in the Torah and was not part of early Judaism. This emerging understanding, however, becomes central to Jesus’ mission and to Christian belief as Jesus’ resurrection and the teachings of the Early Church based on it are entirely new in the history of Judaism.

Tom Wright says: ‘The early Christian hope for bodily resurrection is clearly Jewish in origin, there being no possible pagan antecedent. Here, however, there is no spectrum of opinion: Earliest Christianity simply believed in resurrection, that is, the overcoming of death by the justice bringing power of the creator God … This is a radical mutation from within Jewish belief.’

Our core hope as Christians derives from a changing understanding of God’s revelation which Jesus taught and experienced. The literal interpretations of the Sadducees meant that they could not see or receive the new thing that God was doing in their midst. May God keep us open to receive the new things he is doing in our world through his Holy Spirit and prevent us from rejecting the unexpected moves of his Spirit because our rigidity in our own understandings of scripture.

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Resurrection Band - Colours.

Tragedy and euchatastrophe

I was gripped by Antigone at the National Theatre tonight but that may have had more to do with the strength of Sophocles' play than the strengths of this particular production. King Creon and his advisers are depicted here more as managers and bureaucrats than as the military dictators that Sophocles would seem to have created. That may be a comment on the way in which military might is commonly exercised today, as the initial recreation of the US Government's viewing of the assassination of Osama Bin Laden in the opening scene of this production would seem to imply. While that is theoretically a genuinely scary perception (Assad rather than Gadaffi, for example), here the look and feel of the office set and costumes meant that the petty bureaucratic tyrannies of a David Brent were also in view and may have underminded to some extent the forces Sophocles unleashes through the play.

I was left wondering from where those forces arose. On one level, Creon makes an ill-advised decision which he then feels obligated to enforce as to back down would undermine his authority which he assumes, as King, is and must be absolute. Sophocles would then seem to be critiquing absolutist approaches to power and advocating greater responsiveness from those with power to those who are governed. Yet the same stubborn insistence in following through an initial decision that is criticised in Creon also characterises Antigone's actions and these are presented, within this production at least, as fairly unambiguously heroic. The difference then would seem to be, in part, that one stubbornly follows the wrong course of action while the other stubbornly follows the right course of action. Yet that, by itself, is relatively banal.

The greater sense of tragedy comes partly from the sense that it is the combination of both the wrong and right stubbornnesses that create the inevitability of the tragedy and also the sense that this inevitability is either the judgement of the Gods on Creon, as prophesied by Creon, or an outworking of the curse on the family, the doom which befalls three generations across the Theban plays. This latter sense of Sophocles' tragic conception sits least easily with the contemporary managerial setting of this production and may well be what creates the greatest sense of disjunction between events and setting.

Before seeing this production, I had had a conversation in which a literature lecturer spoke of contrasting Greek tragedy with Biblical narratives. The latter, because they have 'happy' endings are seen as comedic narrative structures rather than as tragedies. This is despite in some cases using essentially the same plot elements. The contrast is instructive. The story of Daniel and the Lion's Den, for example, begins in essentially the same manner as Antigone in that a King enacts a law which is then deliberately broken leading the King to feel compelled to put to death the one who is the lawbreaker. In the biblical version of the story, however, God supernaturally saves the lawbreaker whereas, in Sophocles' version, the gods punish Creon through the deaths of all those he loves. Similarly, the biblical story of David and Bathsheba, in the confrontation between David and the prophet Nathan, parallels the confrontation between Creon and Tiresias in Antigone. The difference is that David repents of his wrong actions as a result of Nathan's intervention whereas Creon resists Tiresias until the point as which his attempt to redress the situation is too late. In the David and Bathsheba story, David does not escape the (still severe) consequences of his actions because of his repentance but does avoid the total meltdown that Creon experiences and which leaves him with nothing and as nothing. The biblical narratives consistently uncover hope in despair which is why they are, as J.R.R. Tolkien phrased it, eucatastrophes rather than tragedies.

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Sixteen HorsePower - I Seen What I Saw.

Photo story - Daniel in the Lion's Den

As part of our Showstoppers! Holiday Club at St John's Seven Kings we've been running dance, magic, music and photography workshops. Those in the photography workshop put together this photo story of Daniel in the Lion's Den.

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Barrett Band - Your Love.