Come Alive :: Stanley Spencer, “The Resurrection, Cookham”

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Stanley Spencer, The Resurrection at Cookham; Oil on canvas; 1923-27.

Death is something we all must face and all, in one way or another, fear. There is a finality to it that is shocking and feels unnatural to us. Even though we understand and experience the breakdown of our bodies, even “natural” death feels wrong, not to mention the death that feels untimely. We all grieve over loved ones who have passed away, and someday others will likely grieve over our passing. One of the most important aspects of our celebration of Jesus’ resurrection is the way He turns the tables on death in the most dramatic of ways. Jesus dies on the Cross but is not held in death. He burst forth with life, thereby destroying death. As the Apostle Paul writes, “The last enemy to be destroyed is death” (1 Corinthians 15:26). The flip-side of death’s destruction is the promise of resurrection to all who have faith in Christ Jesus. In his painting, The Resurrection at Cookham, Stanley Spencer depicts the wonder of resurrection in the churchyard of Cookham, the village where he lived many years. Up from their tombs rise Spencer’s family members and local friends, as well as those from faraway lands. Right in their midst are biblical figures, like Moses, and all are under the gaze of God on the church porch. There is a wonderful mixture between the ordinary and the extraordinary in this painting. We are reminded that the most glorious work of God in Jesus’ resurrection touches ordinary lives in ordinary places both in our present time and at the end of all time.

[This painting can be found in the Tate Gallery in London.]

Let Him In :: William Holman Hunt, “The Light of the World”

William Holman Hunt, The Light of the World; Oil on canvas; 1901-1904.

In the seven letters to early churches which begins the book of Revelation, there is one verse that stands out above others as well known. In the last letter, addressed to the infamous church of Laodicea, Jesus issues a stern rebuke and call to repentance, emphasized with this statement: “Here I am! I stand at the door and knock. If anyone hears my voice and opens the door, I will come in and eat with that person, and they with me” (Revelation 3:20). These words of the glorified Lord have effectively spoken to many people, leading them to open their lives to Jesus as Lord. What catches my attention is that these verses are written to a group of people and, not just any group of people, but a group of early disciples known as a church. What strikes me as deeply ironic is that Jesus stands outside the church community. He is standing at the door of the church fellowship’s gathering asking to be let in. Apparently, He is not in their midst.

William Holman Hunt was inspired by Jesus’ words, “I am the light of the world. Whoever follows me will never walk in darkness, but will have the light of life” (John 8:12), to paint The Light of the World. Hunt painted the same scene three different times. The original was painted in the mid-19th century and today is in the side chapel of Keble College, Oxford. Shortly thereafter, Hunt painted a smaller version which today is in the Manchester City Art Gallery. The third and final version, Holman painted near the end of his life at the turn of the century. It was the largest of all three, bringing the figure of Jesus to life-size proportions. The painting was so revered it actually was sent on a world tour before eventually being purchase and donated to St. Paul’s Cathedral in London, where it continues to be held today. Jesus stands within an overgrown garden, knocking at a door with a handle only on the inside. The eye-catching frame, which surrounds the painting captures the words of Revelation 3:20, leaving us to reflect on the stunning situation: Jesus is on the outside of lives and even churches. Will the individual let Jesus in? Will the church let Jesus in?

The Tears of Jesus :: Enrique Simonet, “He Wept Over It”

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Enrique Simonet, Flevit super illam; oil on canvas; 1892.

“As he approached Jerusalem and saw the city, he wept over it” (Luke 19:41)

There are several places in the Scripture where we encounter Jesus weeping. Probably the most memorable is when Jesus approaches the tomb of His friend, Lazarus, where John the Gospel writer records a most simple, striking sentence: “Jesus wept” (John 11:35). We may also call to mind Jesus’ agony in the Garden of Gethsemane before His arrest and crucifixion. While engaged in deep, strained prayer, Luke tells us Jesus was “exhausted from sorrow” (Luke 23:45). But before the sorrow of His exhaustion before the Cross, we find Jesus weeping before He enters Jerusalem with great acclaim. Why did Jesus weep over Jerusalem at this point? Luke tells us Jesus’ tears are followed with His words about the impending destruction of Jerusalem and its people, a destruction that necessarily flows from people forsaking God and the peace He offers (19:42-44). In Matthew’s parallel account we hear Jesus’ words: “Jerusalem, Jerusalem, you who kill the prophets and stone those sent to you, how often I have longed to gather your children together, as a hen gathers her chicks under her wings, and you were not willing” (Matthew 23:37). Jesus weeps over the annihilation of God’s city and destruction of people who could have experienced God’s peace and care. Instead, they turn away from God to pursue their own ends. Jesus weeps over people and places fleeing God’s presence and goodness.

In Flevit super illam (“He wept over it” or “Then He wept”), Enrique Simonet offers a strikingly large painting, 10 feet by 18 feet, that vividly invites us into this awesome moment. Simonet traveled to Palestine in order to study the place and culture before painting this scene. As we look at this painting, we may feel we are right there with Jesus and His followers gathered on the crest of the Mount of Olives before the triumphal entry. We join them in gazing at Jesus, whose tears fall while His hands are outstretched in care and love over Jerusalem and all its people. The sky is dark, and Jesus almost seems to be in shadows while the light of either a sinking moon or a rising sun (art critics still debate this) blazes through the darkness to light up the city. The followers fix their eyes on Jesus, while Jesus’ eyes are fixed on Jerusalem and a wayward humanity. His response flows in tears. Before this painting we join Jesus in weeping over the world and lost humanity.

The Weekend Wanderer: 11 June 2022

The Weekend Wanderer” is a weekly curated selection of news, stories, resources, and media on the intersection of faith and culture for you to explore through your weekend. Wander through these links however you like and in any order you like. Disclaimer: I do not necessarily agree with all the views expressed within these articles but have found them thought-provoking.


Spiritual-Needs-Are-Still-Needs-980x551“Spiritual Needs Are Still Needs: Compassion, trauma, and the heart of pastoral care.” – Samuel Needham in Comment: “The last time I saw my grandfather alive was in a dimly lit hospice room outside Morrow, Ohio, in February 2016. His cancer had spread further and faster than medicine could manage. Nurses made every effort to keep him comfortable, but he was in enough pain that we’d stopped praying for breakthrough healing and started praying for peace. We understood he was close to the end. My mother and I came into the room and saw him: gaunt, hairless, exhausted. Grandpa had been a farmer and engineer and soldier, a towering figure of strength and joy throughout my life, an invincible man. Seeing him on that bed, I mourned the death of the man I knew and loved while he was yet alive. As with any visit with the dying, in that room God’s grace was greater than sickness. Grandpa was lucid enough to recognize me. When his pained face broke into a remembering smile, I cried. When he asked for a good word, we prayed. When he wanted only a soothing voice, we told stories. And when he needed to rest, we left.”


Nigeria_christians“Nigeria’s Christians are relentlessly under attack” – Kunwar Khuldune Shahid in The Spectator: “Dozens of Christian worshippers, including several children, were killed in a gun raid on a church in Nigeria’s Owo town on Sunday. Initial estimates place the death toll at around least 70 parishioners but that number is set to rise, given that the church in question, St Francis Catholic Church, has one of the largest parishes in the southwestern state of Ondo. Nigeria is experiencing an epidemic of terror attacks. Over the last six months, gunmen have killed 48 in the northwestern Zamfara state, massacred over 100 villagers in Plateau state, and raided trains and buses leaving dozens dead and hundreds missing. At least 3,000 Nigerians were killed and 1,500 abducted in the first quarter of 2022 alone, according to the Nigeria Security Tracker. Most of the recent attacks are carried out by ‘bandits’: local militants that are currently spearheading Nigeria’s abduction spree. However, just as local kidnapping gangs have borrowed Boko Haram’s modus operandi to abduct schoolchildren, various militants are increasingly following the jihadist rulebook to spread terror in Nigeria.”


Lawrence+Cherono+at+Kiptagat+Training+Center,+Kiptagat,+Kenya-1_web“How Christian Faith Propels Elite Kenyan Runners To Global Success” – Dr. Robert Carle in Religion Unplugged: “Since 1988, 20 out of the 25 first-place men in the Boston Marathon have been Kenyan. Of the top 25 male record holders for the 3,000-meter steeplechase, 18 are Kenyan. Eight of the 10 fastest marathon runners in history are Kenyan, and the two outliers are Ethiopian. The fastest marathon time ever recorded was Kenyan Eliud Kipchoge’s in the 2018 Berlin Marathon. The fastest women’s marathon ever recorded was Kenyan Bridgid Kosgei’s in the Chicago Marathon. Three-quarters of these Kenyan champions come from the Kalenjin ethnic minority, which has only 6 million people, or 0.06% of the global population. The Kalenjin live in Kenya’s Rift Valley. Iten, a town that sits on the edge of the valley at 7,000 feet above sea level, is nicknamed the City of Champions. ‘If you look at it statistically, it sort of becomes laughable,’ said David Epstein, a former senior writer at Sports Illustrated. ‘There are 17 American men in history who have run under 2:10 in marathons. There were 32 Kalenjin who did it in October of 2011.’ American journalists have been fascinated by Kalenjin runners for decades, and their explanations for Kenyan dominance in running have included training, culture, biology and diet. However, one factor remains little explored or understood in media coverage: The spiritual lives of the Kalenjin runners have received scant attention.”


32telushkinaroundthecircle“The Apocalyptic Visions of Wassily Kandinsky” – Shira Telushkin in Plough: “There is a moment, as one rounds the final span of the four-level exhibit of Wassily Kandinsky’s works at the Guggenheim in New York, on display through September 2022, where the art gives way to an almost transgressive sense of intimacy. The exhibit, Around the Circle, is hung in reverse chronological order: We begin at the end, with the artist’s final years in 1940s Paris. The show then winds upward through two world wars, the Russian Revolution, his drawings, sketches, the writings on theory and art. As we move back through time, the works start to come into focus, the abstract lines and circles turning back into legible shapes and forms. A house suddenly comes into view as one finally reaches the beginning of the 1910s, his earliest period. A few paces later there are men and women unambiguously conversing over a picnic. Perpendicular to this painting is a train, pumping a recognizable pillar of steam through clearly discernible mountains. We have wound back to Kandinsky’s first forays into painting, the start of his experiments with color and texture and light. After nearly seventy works of nuanced spiritual abstraction, these early works hold an almost childlike wonder, so straightforward and requiring no translation. They are still impressionistic, almost dreamlike in their blurred silhouettes and textured brushstrokes of primary colors, but they feel personal, stripped of those outer layers of meaning and symbolism we have come to expect. It is as if we’ve intruded on the artist at home, unvarnished, playing around with friends and family, not suited up for serious theological debate.”


Poetry pulls the splinter outPoetry Pulls the Splinter Out” – Mike Bonikowsky in Ekstasis Magazine: “Before the poem, there is the pain. Sometimes it’s a good pain: a stab of delight, an ache of longing, a sudden blaze of joy. More often it is something else: the dull clanging alarms of anxiety, the hot tearing of rage, the long slow labour of the Maranatha agony. The pain, whatever it is, grows until it can no longer be ignored, then continues to work its way deeper until it can no longer be borne. And then something must be done about it. Somehow or other, the splinter has to come out. When I was young and knew no better, I would cut patterns on my skin and try to bleed it out. These days I’m more likely to yell at the kids or punch a hole in the drywall or lie under the covers scrolling down on my phone for hour after hour. But there is better, wiser, healthier catharsis, and its name is poetry.”


CSJ_Press_Conference_7_June_2022_(3)“Islamabad: Religious minorities demand more space in the census” – Shafique Khokhar in PIME Asia News: “Pakistan’s civil society is calling for a review of the methods used by the government to conduct censuses. During a conference organised yesterday by the Centre for Social Justice, speakers urged the Bureau of Statistics to rethink the questions in the questionnaires and count nomadic populations and other minorities (Baha’i, Kalash, Jews, Buddhists) separately, instead of grouping them all under the heading ‘others’: in this way it would be possible to account for the country’s ethnic and religious diversity and plan targeted policies. During the event, a document entitled ‘Demographic Confusion of Minorities’ was presented, which examines data from the 1981, 1998 and 2017 censuses: the demographic picture appears inconsistent and illogical, giving rise to doubts about the credibility of the statistics compiled by the government. For example, the percentage of people belonging to religious minorities, 3.32% of the total population in 1981, rose to 3.73% in 1998 and then fell to 3.52% in 2017. In absolute numbers, this amounts to 7.32 million people, including Christians (2.64 million), Hindus (3.6 million), Ahmadis (0.19 million), people of the Scheduled Castes (0.85 million) and people of ‘other’ religions (0.04 million).  Part of the inconsistencies can be explained by looking at the categories used by the National Database and Registration Authority (Nadra): while citizens can choose to identify themselves in one of the 18 available categories, census data limits the choice to six or at most nine categories, excluding some minorities.”


social media“Social Media That Doesn’t Shrink Your Soul?” – Jon Jordan in The Living Church: “There are lots of reasons to be wary of social media, and there is no shortage of opinions currently being published about a certain billionaire’s looming purchase of a certain network. While I have plenty of opinions on that matter, I will refrain from sharing any of them here because, at the end of the day, this purchase matters very little. There is a far graver issue at hand when it comes to our relationship with social media. Virtues are moral muscles that, like our physical muscles, are either strengthened or given to atrophy every single day. Thousands of small, daily thoughts, actions, and reactions become engrained habits, which mold us into who we are becoming. When we exercise temperance — our moral ‘no’ muscle — on small things like passing on dessert, skipping meat on Fridays, or leaving the phone turned off for an hour around dinnertime, we are actually strengthening our ability to say ‘no’ when it matters most. When we exercise courage — our moral ‘yes’ muscle — by saying ‘yes’ to a neighbor in need despite the inconvenience, or when we read stories of those who say ‘yes’ even when it is unpopular or dangerous to do so, we are actually strengthening our own ability to say ‘yes’ when it matters most. This is how moral formation works, and we ignore the virtues to our collective peril.”


Music: Donny McClurkin with Richard Smallwood, “Total Praise,” from Psalms, Hymns, and Spiritual Songs