The Saint John’s Bible

Last week my wife and I got the opportunity to present some of our work at the Pepperdine University Bible Lectures in Malibu, CA. Besides being a great time to reconnect with friends and enjoy the Pacific coast, it was also a time to soak in some great presentations. My interest in art and theology is definitely more pronounced than my wife’s interest. To her credit she does entertain my passion more than I would expect. She went to a few “artsy” lectures this week with me and even listened to my observations. Still, for this particular lecture that I am going to highlight, she decided to go her separate way. But I cannot help but share some of the interesting things that are going on both with the Saint John’s Bible Project and the direction Pepperdine University is taking it.

Saint John’s Abbey and University began this project over a decade ago. Commissioned to spearhead the work, world-renowned British calligrapher Donald Jackson painstakingly embarked on the task of completing a contemporary illuminated manuscript of the entire Bible in English on authentic calfskin vellum. The choicest materials also include nineteenth-century Chinese ink, twenty-four carat gold leaf, and top-quality pigment suspended in egg and water. Each page took at least seven hours to write by hand in the Benedictine tradition. Surprising to many is the use of computers, contemporary art imagery, and even the Hubble telescope to aid in the creation. This was not out of step with the manuscript tradition. While modern onlookers may see an antiquated process, the art and production of the medieval manuscripts show signs of technological innovation from the clothing of the subjects to the illustration content. In the current project, flora from central Minnesota and England decorate the pages showing a regional context to the work. This was not out of step with the medieval process of blending the biblical text with the contemporary culture.

Pepperdine University will be using this work for devotional purposes in the next year. In a similar way that Lectio Divina reorients the mind to contemplate a text, this devotional process aids in connecting the artwork and layout of the manuscript with the meaning of the Scripture. During the presentation, we used a few pieces of artwork from the Bible to demonstrate this practice. For a culture immersed in quick knowledge, information overload, and busy schedules, contemplative practices like this have a place. Contemplating spending years on a project, whether a medieval cathedral or a monastic illuminated manuscript, critiques our throw-away social norms. I am intrigued and grateful for the revival of spiritual disciplines in faith (even Protestant-oriented faith). If you ever get to actually see even a reproduction of an illuminated manuscript, take the opportunity. The pictures here do not come close to that experience.

 

Modernity, Maundy Thursday, and the Poor

There are many holidays and traditions in the calendar that fall around Easter, the Christian commemoration of Christ’s death on the cross and his resurrection. One of the lesser known days is Maundy Thursday (the Thursday before Easter, also known as “Holy Thursday”). While I do not intend to trace the beginnings of this holiday, I do note the context of a major revision in its celebration. It goes back to seventeenth-century England and has contemporary implications for our thoughts on service to the poor.

The Background of Maundy Thursday:
Modernism swept through urban England in the late-seventeenth century. New Parliamentary systems of power replaced knightly feudal systems. Men began wearing our familiar dress coats. The day even started to include familiar elements such as breakfast, lunch, and dinner. Oh, and let’s not leave out the scientific revolution! But with all these advances, political and religious tensions also ran high. Charles II forced his way into a failed war with the Dutch. After years of fighting and large economic losses, Parliament suspended financial backing in 1674. The Test Act forced every state officer to accept the sacraments from the Church of England and renounce transubstantiation. However, pro-Catholic sentiments emerged as James II took the throne. This tension between the Church of England and James culminated on two Sundays in May 1688 when he ordered all clergymen to read an ordinance from the pulpit (called the Declaration of Indulgence). Many refused to read the notice. In retaliation James temporarily held seven bishops (including the Archbishop of Canterbury) in the Tower for sedition. Although acquitted, the damage was done as crowds gathered in mobs to protest the actions of the king. This uprising opened the opportunity for William III and Mary II to take the throne of England in a “bloodless revolution” (Roberts, A History of England, vol. 1 [2002], 380-407).

While the Glorious Revolution in 1689 had significant implications for the politics of England, the continuance of the Test Act and other areas of contention made religious conflict only escalate. Shortly after these events, John Locke penned powerful words that would lead toward colonial rebellion over similar political and religious grievances that still remained unresolved after 1689.

Contemporary Maundy Thursday:
With William on the throne, this also meant his presiding over ecclesiastical traditions such as Maundy Thursday, a holiday celebrated before Easter Sunday when the monarch would physically wash the feet of the poor in London. This was to commemorate Jesus washing his disciples feet during the passion week. Proposed with the prospect of washing the feet of twelve elderly subjects, William decided to place the unsightly duty to his chaplain. Eventually the Maundy Thursday practice of physical foot washing declined and was replaced with other commemorations ordinarily involving the transfer of money. (“Holy Week” in Traditional Festivals, vol. 1, [2005]: 200)

I think about the way that many people conceive of contemporary service to the poor. I am daily inspired by the people who jump at the chance to do the difficult and sacrificial acts of service to others. These people truly embody the Savior and challenge me to devote my meager time and efforts in helping others. Despite the modernist influence on western society, these people transcend mere consumerism and selfishness to change the lives of “the least of these.” I bothered to mention the context of the holiday because the change in ritual is inseparable from the context of the Glorious Revolution. In England times were changing. But as modernity gripped both church and society, true and authentic service to others often suffered in places and times when it was needed the most. Whatever faith heritage you come from, even today people often buy into the myth that the problem of poverty is simply about money. While money is obviously a major factor, sometimes what is needed is the unsightly, hard, and even demeaning tasks of self-sacrifice. While some churches have revived the physical foot-washing of Maundy Thursday, I think the larger issue is the question of physical sacrifice. Are we willing to do the hard work of service that Christ exemplified? On this day here is a challenge:

–> Help someone today who truly needs your service. But instead of serving them with money, find another method.

Resurrection: Athenagoras (late 2nd Century)

Along with Justin were several other intellectual Christians who sought to reconcile their faith with philosophical schools, particularly in major centers of paganism, such as Athens. Two particular criticisms of the Christian faith were its apparent atheism (i.e. their monotheism) and its supposed cannibalistic roots (i.e. language connected to eating Christ’s body and drinking his blood). Although less is known about him now, the popular works of Athenagoras demonstrate his erudite ability to converse with the leading philosophers of the day about his faith as Paul himself did a century before in the same city. The following section is a defense of the possibility of resurrection. In it, he argues that the difference between “irrational” and “rational” beings demands a difference in perpetuity in line with being created in the image of God. Although not devotional in nature, it does illustrate the desire of the pre-Constantine period to legitimize the Christian faith:

For whatever has been created for the sake of something else, when that has ceased to be for the sake of which it was created, will itself also fitly cease to be, and will not continue to exist in vain, since, among the works of God, that which is useless can have no place; but that which was created for the very purpose of existing and living a life naturally suited to it, since the cause itself is bound up with its nature, and is recognised only in connection with existence itself, can never admit of any cause which shall utterly annihilate its existence. But since this cause is seen to lie in perpetual existence, the being so created must be preserved for ever, doing and experiencing what is suitable to its nature, each of the two parts of which it consists contributing what belongs to it, so that the soul may exist and remain without change in the nature in which it was made, and discharge its appropriate functions (such as presiding over the impulses of the body, and judging of and measuring that which occurs from time to time by the proper standards and measures), and the body be moved according to its nature towards its appropriate objects, and undergo the changes allotted to it, and, among the rest (relating to age, or appearance, or size), the resurrection. For the resurrection is a species of change, and the last of all, and a change for the better of what still remains in existence at that time. (Taken from The Treatise on the Resurrection of the Dead, chapter XII)

Resurrection: Justin Martyr (late 2nd century)

How does a Christian believe and act within the larger culture? Many faithful believers have made this a prominent source of debate throughout the past few centuries. From Bonhoeffer’s and Barth’s refusal to align themselves with the surrounding German culture at the beginning of WWII, to the current debates of “entertainment v. true worship” within contemporary churches, Christians have long struggled to find the balance. The debate even goes back to the early years of Christianity. Some early church writers, such as Tatian and Tertullian sought to understand their faith in Christ as very different than the surrounding Graeco-Roman culture. In contrast, Justin Martyr represented one of the first attempts to understand the Christian faith within the larger philosophical ideals of Stoicism and Platonism. He contended that the Logos (i.e. the Word of John 1:1) was a philosophical continuity between the pagan religions and Christian thought. Readers of Justin’s works often come away with different impressions. What often does not stand out about his life, though, is his death. Out of all of his works discussing the resurrection (including a whole treatise on it), the most poignant example to share actually does not come from his writings. Instead it is an anonymous account of the martyr proceedings (probably written shortly after his death c. 165) that best communicate the themes of sufferings of death and the hope of resurrection:

The prefect says to Justin, “Here this, you who are called learned, and think that you know true doctrines; if you are scourged and beheaded, do you believe you will ascend into heaven?” Justin said, “I hope that, if I endure these things, I shall have His gifts. For I know that, to all who have thus lived, there abides the divine favor until the completion of the whole world.” Rusticus the prefect said, “Do you suppose, then, that you will ascend into heaven to receive some recompense?” Justin said, “I do not suppose it, but I know and am fully persuaded of it.” Rusticus the prefect said, “Let us, then, now come to the matter in hand, and which presses. Having come together, offer sacrifice with one accord to the gods.” Justin said, “No right-thinking person falls away from piety to impiety.” Rusticus the prefect said, “Unless you obey, you shall be mercilessly punished.” Justin said, “Through prayer we can be saved on account of our Lord Jesus Christ, even when we have been punished, because this shall become to us salvation and confidence at the more fearful and universal judgment-seat of our Lord and Savior.” Thus also said the other martyrs: “Do what you will, for we are Christians, and do not sacrifice to idols.”
Rusticus the prefect pronounced sentence, saying, “Let those who have refused to sacrifice to the gods and to yield to the command of the emperor be scourged, and led away to suffer the punishment of decapitation, according to the laws.” The holy martyrs having glorified God, and having gone forth to the accustomed place, were beheaded, and perfected their testimony in the confession of the Saviour. And some of the faithful having secretly removed their bodies, laid them in a suitable place, the grace of our Lord Jesus Christ having wrought along with them, to whom be glory for ever and ever. Amen. (Taken from The Martyrdom of the Holy Martyrs Justin, Chariton, Charites, Pæon and Liberianus, Who Suffered At Rome chapters IV and V)

Despite the controversy of Justin’s stance on Christ and culture, ultimately when his belief in the resurrection was challenged, he stood his convictions.

Resurrection: Igantius of Antioch (early 2nd century)

It is a vast understatement to say that the theme of resurrection is important to Christianity. Although Paul articulated many characteristics that defined the early Christian community, Christ’s resurrection was the most critical to early faith. Written to those who denied the resurrection of Jesus, Paul wrote: “If there is no resurrection of the dead, then Christ has not been raised; and if Christ has not been raised, then our proclamation has been in vain and your faith has been in vain (1 Cor. 15:13-14, NRSV).” Within the weeks leading to Easter, I plan to share several accounts of resurrection language throughout early Christian history. They will generally be short to meditate on the description it provides. A little context will be provided, but just enough to get the background of the tone of the description.

Today’s passage is taken from Ignatius, an early Christian bishop from Antioch. Probably born c. A.D. 30-35, Ignatius left numerous early Christian rebuttals of heresies and schisms in the early church. But one of his most powerful letters concerned his own upcoming martyrdom in Rome. In hearing of a rumor that the Roman church sought to liberate him before his death, Ignatius wrote from Smyrna instructing the Christians in Rome to allow him to fully participate in the suffering, death, and resurrection of Christ. Shortly after writing his letter, he fulfilled that desire. Living about seventy years, Ignatius wrote many directives, but also wrote some surviving early Christian hymns that expressed his faith in God (most notably expressed through the Son). This is an excerpt that sheds light into the early themes of Christian imitation of Christ’s sacrifice and the renewal of life [taken from Everett Ferguson, Early Christians Speak: Faith and Life in the First Three Centuries (Abilene: ACU Press, 1999), 151]:

He was scourged as an example
in order that he might provide an influence for all;
he has broken death in order that it might be destroyed.
In order that after dying you may see the resurrection,
in order that you may see the eternal light,
in order that you may receive the God of lights.
O the refreshments of those who sorrow,
but, O, the leapings of the unfaithful,
O the fearful fire for the wicked.
You have come under grace freely;
listen to the petitions of the poor;
speak no more arrogantly.

*Note: The image is taken from the north wall of the nave of St. George’s Episcopal Church in Dayton, OH. Notice the contemporary view of the Roman Colosseum. Not only is there little support for Christian martyrdom in the Colosseum, but it is interesting the modern depiction. Perhaps this is to further illustrate the transition between the life of Christ and the church itself, a theme of the north wall of St. George’s Church. He is carrying wheat because of his famous Eucharistic statement: “I am the wheat of God, and let me be ground by the teeth of the wild beasts, that I may be found the pure bread of Christ” (Ignatius, Letter to the Romans IV).  

The Cries of Cyberspace: A Call to Love

It is Valentine’s Day. Love it or hate it, this day celebrates love, relationships, commitments, long-stemmed roses, petite bites of chocolate bon bons, and cute teddy bears. True, it is somewhat of an emotional letdown after the chaotic Christmas season, but it definitely has some good points. So today I asked myself, what can I contribute to understanding love in the twenty-first century. Instead of just writing about it, I decided to illustrate it. Facebook is a culture for both young generations and older generations. Whether you are “on it” or not, you are exposed to the language of it. And, like Valentine’s Day, you probably have some opinion about it. In a world of virtual identity, people often blame social media for the pessimism around us. I don’t think that is the whole truth. I think we are seeing people in their true light and witnessing the power of unedited, carefree, impulse-driven communication. That has always been a part of humanity, but now people can share it impersonally, quickly, and without a context.

I use and appreciate social media, but I see how people act in all ages. And I will be honest, I sometimes join in the negative trends. But here is one way on “the day of love” to break old habits and form new habits. Join the revolution to make a stand for a cleaner, more encouraging online presence:

• Keep the Message Positive: In a world where politics, news stories, and the economy is depressing, strive for optimism. See the good in other people, celebrate good times, and work toward positive solutions. Isolate the bashing of others to greedy politicians and prideful peers. Generally the politicians only want your vote for personal gain and the prideful peers are yearning for positive worth. “This is the message we have heard from the beginning: We should love one another (1 John 3:11).”
• Make Real Communication: Being online is great, but people value personal time, honesty, and sacrifice rather than convenience. Often times if a task is easily done, it will not last and it will not mean anything. Spend time in nature, soak in life, and dedicate real time in communication. Oh, and occasionally spell out complete words, lol. “Every day [the believers] continued to meet together with glad and sincere hearts, praising God and enjoying the favor of all the people (Acts 2:46-47).”
• Shine Integrity: It’s interesting how many people think that others online are so guilty, but when it comes to their personal space, it is no problem. Integrity is not just doing what you know is right, but also realizing how and where we fail. Being real is important. Know your convictions, live those convictions, but honestly accept when those two do not match up. The one thing about Facebook is that it gives our social circles a time capsule of our online presence. Wow, that changes the game, doesn’t it? “Anyone who listens to the word but does not do what it says is like a man who looks at his face in the mirror and, after looking at himself, goes away and immediately forgets what he looks like (James 1:23).”

Be kind on this day of love (and everyday). Ok, my rant is concluded. Thanks for hearing me out.

 

Painting Lazarus and Christ: Old Styles, New Life

No concept is more central to the life of Christianity than resurrection. The Gospel of John climaxes at the raising of Lazarus in chapter 11 in order to foreshadow the culminating resurrection of Jesus himself. Over the past few weeks I have looked intently into this Johannine gem, preached on its transformational power, and attempted to understand my own life in its reflection. Because of who I am, I also have tried to understand how different artists have illustrated this notable event, what that suggests about history, and what that suggests about us.

Many artists have illustrated the dramatic account of Lazarus because of its significance to the gospel, but there are differences in how each artist chose to portray the scene. Some are obvious. For instance in the third-century catacomb painting below, Jesus looks more like a hellenistic Roman citizen rather than a carpenter from Nazareth. Different cultures generally fashion their image of how Christ lived, dressed, spoke, and thought around their own surroundings (often very personal surroundings). Another conscious decision on the part of the artist is what verse to emphasize. Often people, even biblically-literate people, do not think about this as they wander aimlessly through the centuries of religious narratives in an art gallery. Why did the artist portray that moment, include that image, and compose the painting in that way? Another difference is the theological message of the work. Often an understanding of Christian history provides information on these topics.

Early Catacomb Painting

For much of early Christian history sin was perceived as a virus that affected all of humanity after the Fall. Augustine, who most clearly developed this theme, wrote, “Through the bad will of that one man all sinned in him (Marriage and Desire 2.1.15).” This concept of “original sin” underscores why so many artists depicted Lazarus totally confined in his death garments unable to move without the aid of Christ.

Arian Depictions

Constantine’s rule certainly changed Christianity. Much of the following centuries centered on defining heresy and solidifying appropriate understandings of canonical interpretation. Not surprising, Christians battled over everything from what is the form of that canon to the nature of Christ. Some of the decisions made were easier than others, but it certainly was telling of the shifting sets of values as Christianity branched out across the empire.

The culmination of the ante-Nicean period was the threat of heretical teaching from a Alexandrian bishop named Arius in the early-4th century. Arius contended that the Son was not coeternal with the Father, but the first of the created beings. This view extended previous understandings of the separate function of the Logos from the immutable Father (i.e. from Justin, Clement, Origen, etc.). Beginning as a local dilemma, the Arian cause soon grew to a major divide within Christendom. When the bishops gathered in 325 at Nicea to discuss numerous issues, the debate over the nature of the Trinity left Arius, Eusebius of Nicomedia (the major Arian spokesperson at Nicea), and others banished from their cities. But eventually even Constantine declared he acted too harshly on the matter. On his death bed, he requested baptism from Eusebius, the once danished Arian from Nicomedia. The issue of how to perceive the nature of Christ continued to spark vicious controversy.

The disputes between Arianism and Nicene “orthodoxy” continued for centuries with often violent results. In the mid-sixth century, Theodoric and the Arian Ostrogoths expanded their rule into the Italian peninsula. As expected they clashed with an established Nicean population forcing the local Christians to appeal to Emperor Justinian in Constantinople for protection. The new ruler Justinian eventually came to their aid primarily to thwart a growing Lombard military push in northern Italy. This ended the Ostrogoth kingdom and with it some of the final vestiges of Arian Christianity in Europe.

One of the major physical landmarks constructed under Theodoric’s reign was the Basilica of Sant’Apollinare Nuovo in the capital city of Ravenna in the northeastern Italian peninsula. The interior has a beautiful set of twenty-six mosaic panels that illustrate the life of Christ. One of these is the Raising of Lazarus. Lazarus once again is depicted fully enwrapped in the death garments. Even more striking about this work, however, is the addition of a cruciform halo over Christ’s head. When Justinian rebuilt the basilica in 560, not only was Lazarus reconstituted, but also Christ’s sign of divinity.

Modern Depictions

As monastic communities attempted to quarantine themselves from medieval heresy and violence, their also came a new perspective on human nature. The humanist drive of the Renaissance and the theological fallout from the Protestant Reformation convinced many that human nature was not as corrupt as previously thought. Along with different interpretations of Scripture, this also meant a reinterpretation on how to communicate this message in art. Caravaggio was one artist who represents this difference. Although many other artists also focused on John 11:44, Caravaggio’s use of light, composition, and selection is a magnificent example of this shift.

Caravaggio (1571-1610) was actually named Michelangelo Merisi da Caravaggio, but desired his Italian town name to represent himself. Although he never had a good relationship with the Pope, his work was a Counter-Reformational trend to revive Catholic art after the Protestant Reformation. He was rediscovered in the twentieth century and labeled as one of the major artists of the Baroque school of painting in Europe. Most notably, his composition is very dramatic with the overwhelming darkness and death (symbolized in the skull on the ground) encountering the light of Christ. Lazarus is positioned in crucifix form paralleling the act of Christ later in the gospel. But the most remarkable shift is in the death garments. No longer is Lazarus still confined to those death cloths, but he is experiencing the freedom of resurrection, albeit still rather confined.

Contemporary Depictions

If you know me well or have read my blog, you know I critique the loss of symbolism, intention, and richness that has plagued much of the contemporary religious art world. All too often it has succumbed to sentimentality, cheap visual devices, and lack of innovation to communicate the message. But with that slight digression also comes a reminder that sometimes the differences are more theological than aesthetic. Here is a link to a work from the Methodist Church Collection of Modern Christian Art showing the resurrection of Lazarus.  Once again there is contemporary scene, dress, and imagery. Contemporary versions also may lack death garments (like this example). It seems like this piece is highlighting the complete freedom over death that Jesus provides. This is not a new emphasis, but it is certainly different than the presence of garments in previous works throughout Christian history.

***Note: Respecting the Methodist Church Collection of Modern Christian Art’s image publication policy, view this image linked here: John Reilly (1962) 

So What?

So what are we to make of all of this? Not only are we a product of our theological time period, but Christians and non-Christians alike will often unknowingly reflect our own culture’s biases. My personal interpretation of the story of Lazarus is probably closest to Caravaggio’s expression. John’s Gospel makes it clear that something important is happening with the death garments. In John 11:44 it states,

“The dead man came out, his hands and feet bound with strips of cloth, and his face wrapped in a cloth. Jesus said to them, ‘Unbind him, and let him go (NRSV).’”

Lazarus was raised, but he still needed help in the process of removing the death. Lazarus would die again, but Jesus would not have to experience death after his own resurrection. In fact, John further records in 20:6-7,

“Then Simon Peter came, following him, and went into the tomb. He saw the linen wrappings lying there, and the cloth that had been on Jesus’ head, not lying with the linen wrappings but rolled up in a place by itself (NRSV).”

This is the Christian story. We so strive to have complete freedom of sin and death. Still, we long for the day that the sin garments can be completely rolled up and set aside and death is no more. John’s account is certainly a powerful testament to the “already-not-yet” magnificence of the Kingdom of God.