The Seventh Sunday of Easter
In the calendar of the church’s cycle of worship, we find ourselves this morning in Ascensiontide – the ten-day period at the end of the Easter season, after Jesus’ ascension into heaven on the fortieth day and before the descent of the Holy Spirit at Pentecost, the fiftieth day, next Sunday.
Just now we heard a reading from Acts that we also heard on Ascension Day – the lectionary’s version of recapping a previous episode. And in 1 Peter we heard a preview of coming attractions: The Holy Spirit is coming soon … to a monastery chapel near you!
For now, we are gathered in a strange in-between time: it is awesome, glorious, mysterious, and a bit challenging to preach about. A vocational hazard in the preaching life and in the monastic life can be overfamiliarity with things awesome, glorious, and mysterious. When that happens to me, I tend to return to my prayer journal to see what I can glean from a slightly younger, fresh-eyed version of myself.
When I was a novice, I spent a considerable amount of energy in prayer cultivating a relationship with God as a Trinity of persons. Perhaps because I was raised as a Southern Baptist, a close, personal relationship with Jesus had always come instinctively to me. But because of the insinuation of some bad theology, I had a relationship with God the Father that stood in need of healing. I am not sure I could have called my relationship with the Holy Spirit a relationship. The Spirit seemed something more like an intriguing but abstract force. So I spent time asking Jesus to show me more of his relationship with the Father and the Spirit, and I often did so by praying with art, one of the languages of prayer I have loved since childhood.
“Christ in Prayer” by El Greco (1541-1614)
The painting of Jesus with his eyes gazing upward, by the Spanish painter El Greco, could be an illustration of many moments in the gospels. But it is particularly apt for this morning’s reading from John: “After Jesus had spoken these words, he looked up to heaven and said, ‘Father, the hour has come; glorify your Son, so that the Son may glorify you’” (John 17:1). I found in this image an icon of Jesus’ relationship with his Father – and so a doorway into my own.
I discovered something frustrating about gazing at the face of a person I loved while his gaze was turned elsewhere. But this also provoked a curiosity to know more about whom he saw, and to see the Father through Jesus’ eyes. I recalled beautiful hikes in the woods with a beloved friend who is an avid birder. “Look! Look right over there! Do you see it?” she would squeal with glee. “Um … what am I looking at?” I would reply. Over time, these moments became opportunities to learn more than the names of birds. They were opportunities to see the world through the eyes of a friend seeing something, someone, she loved and longed for me to love.
Me looking at Jesus looking at God the Father also stirred the question: Who was this unseen Father looking at? Was he returning the gaze of his Son, or was he perhaps gazing at me – his adopted son by my baptism – somehow completing the circle?
“Christ in Silence” by Odilon Redon (1840-1916)
The second painting is by a French painter named Odilon Redon, who participated in the Symbolist movement in nineteenth-century art. These artists strove to find a visual language that could evoke the mysterious depths of human experience in a way that they felt was flattened and trivialized by naturalism and realism. Redon’s paintings are saturated in mythological and dream imagery, but he also painted many portraits of Christ. “Christ in Silence” depicts Jesus with his eyes closed, his head covered in his prayer shawl, and his hand raised to his lips. The fluid blue and gold background against the earthier hues of his face and body appears to me like a window into Christ’s interior life – the aura or ambience that emanates from his presence.
It reminds me of the words in John 3: “The wind blows where it chooses, and you hear the sound of it, but you do not know where it comes from or where it goes. So it is with everyone who is born of the Spirit” (John 3:8). I also now find it resonates for me with the words from 1 Peter: “… you are blessed, because the spirit of glory, which is the Spirit of God, is resting on you” (1 Peter 4:14). This rest can ground us in God even in the midst of great suffering.
Praying with this painting, Jesus showed me more of the Holy Spirit by inviting me to be with him while we both closed our eyes and gazed within, gathered in God’s indwelling presence. The Holy Spirit in the space between us soon took on a more vivid life of its own. But for that to happen, I had to turn my gaze away from Jesus and trust in a different set of senses.
Odilon Redon was not a Christian, nor was he conventionally religious. Nonetheless, his paintings of Christian subjects bear witness to the deepest spiritual impulses of the human heart, the subtle movements of the Spirit in all people and indeed all creatures. As a monk of another community once said to me, “As the church, we can say with confidence where the Holy Spirit is: in our midst the Spirit has made a home. But we cannot say where the Holy Spirit is not.”
In John 17, Jesus prays to the Father, “And this is eternal life, that they may know you, the only true God, and Jesus Christ, whom you have sent” (John 17:3). To know God – to be brought into a relationship of abiding intimacy – is not just the means to eternal life. The relationship is that Life itself.
The kingdom of God, this Life that is truly Life, is given to us now in part and not yet in its fullness. God’s fullness is always seeping into time as most of the world knows it, but most often in glimpses, in a gradual unfolding. That is good news, because it is given to us in the measure we can receive it; God reveals only as much of God as we can endure.
The ministry of artists is particularly appropriate to celebrate during Ascensiontide. Like the Greeks who came to the apostle Philip, we wish to see Jesus, the “image of the invisible God.” Some art has the capacity not only to reveal God or spiritual realities, but to move our gaze beyond the visible in the direction of truths that images cannot contain. Icons in the Eastern Church do this in a very intentional and programmatic way, but a venerable lineage of Western artists participates in a similar approach to sacred art. They invite us to gaze until our spirits are filled and moved, but then they say, like that pair of men in white robes: “Why do you stand looking upward into heaven? This Jesus, who has been taken from you into heaven, will come in the same way as you saw him go into heaven” (Acts 1:11).
If things awesome, mysterious, and glorious have lost a bit of their luster for you, praying with sacred art may help undomesticate familiar images of God and open a fresh perspective. Perhaps the crucified, risen, and ascended Christ is inviting you to pray your way through a museum, to search out the image of God in creative works both explicitly religious and otherwise. You may also feel prompted to gaze afresh at art made by friends or by your own hand, and to see it with renewed sight and insight.
St. Bernard of Clairvaux wrote:
The soul at prayer should have before it a sacred image of the God-man, in his birth of infancy or as he was teaching, or dying, or rising, or ascending. Whatever form it takes, this image must bind the soul with the love of virtue and expel carnal vices, eliminate temptations and quiet desires. I think this is the principal reason why the invisible God willed to be seen in the flesh and to converse with men as a man. He wanted to recapture the affections of carnal men who were unable to love in any other way, by first drawing them to the salutary love of his own humanity, and then gradually to raise them to a spiritual love.
The ministry of sacred art trains our gaze to look for Father, Son, and Holy Spirit in all people, places, and things – and to give praise to the Divine Artist, their Maker and Source.