Year A Readings – Page 10 – Hear what the Spirit is saying

Presentation in the Temple| Art for A Epiphany 4

Luke 2:22
When the time came for their purification according to the law of Moses, the parents of Jesus brought him up to Jerusalem to present him to the Lord (as it is written in the law of the Lord, “Every firstborn male shall be designated as holy to the Lord”), and they offered a sacrifice according to what is stated in the law of the Lord, “a pair of turtledoves or two young pigeons.”

Commentary by Hovak Najarian

The Presentation in the Temple, Tempera and Gold on Wood, 1435, Giovanni di Paolo (Giovanni di Paolo di Grazia), 1398-1482

We are familiar with remakes of motion pictures and rearrangements of musical scores. Writing variations of another composer’s theme also is well known. Today in painting, however, originality in subject and composition tends to be preferred. Yet, in the fifteenth century it was not unusual for an artist to reinterpret the composition of another painter. Giovanni di Paolo based, “Presentation in the Temple,” (shown above) on a scene from the predella of an altarpiece by Gentile di Fabriano but changes in colors and background architecture were made. Although in this time period (Early Renaissance) the trend in painting was toward naturalism and classical humanism, di Paolo remained in the Gothic decorative style.

According to Jewish law, a mother was instructed to go to the Temple for ritual purification forty days after the birth of a son (See Leviticus 12:1-8). Further, a firstborn son was to be presented as an offering to the Lord forty days after birth. In paintings, these requirements often were combined.

In “The Presentation in the Temple,” Joseph in a yellow robe and Mary in her traditional blue robe are at the Temple with the baby Jesus. Joseph is holding a dove. [It is presumed another dove is hidden from our view. If a family were poor they could bring two turtle doves or two young pigeons to sacrifice instead of a lamb.] As they entered the Temple they were met by Simeon, an old man who had been told by the Holy Spirit he would see the Messiah before he died. Simeon took the baby Jesus in his arms and prayed.
His familiar prayer is known to us now as the Nunc Demittis: “Lord now lettest Thou thy servant depart in peace; according to thy word: for mine eyes have seen Thy salvation, which Thou hast prepared before the face of all people: to be a light to lighten the gentiles and to be the glory of Thy people Israel” (Luke 2:29-32). [The phrase, “to be a light to lighten the gentiles,” is the basis for celebration of the feast day, Candlemas, and in paintings often a person holds a candle as a symbol of Simeon’s words.]

In di Paolo’s painting, the setting is a pavilion with a burning sanctuary lamp (the “ner tamid,” Hebrew for “eternal light”). The participants are grouped together in front of the altar and the priest is behind it. The baby Jesus continues to be held by Simeon and the prophetess, Anna, an old widow living in the Temple is at his side. On the left, two women dressed in fashionable fifteenth century clothing have come to observe the rituals and to the right two beggars are seeking alms.

Calling Disciples | Art for A Epiphany 3

Matthew 4:18,21 As he walked by the Sea of Galilee, he saw two brothers, Simon, who is called Peter, and Andrew his brother… As he went from there, he saw two other brothers, James son of Zebedee and his brother John…

Commentary by Hovak Najarian

Calling Disciples, mixed media, 2001, He Qi (b. 20th Century)

During the latter part of the nineteenth century, the industrial revolution with its engineering and technological marvels was becoming part of life and there was a sense the world had entered a modern age. Being “modern” became a self-congratulatory state of mind that continued well beyond the first half of the twentieth century. Around 1970, it was proclaimed the term “modern” no longer applied to how we perceived ourselves. We were in the “Post Modern” age. Today, “Modernism” is a designated time period that started in the mid 1930s and continued to the mid 1960s. The architecture and furniture of the 1950s in particular are celebrated now in exhibits called, “mid-century modern.”

In the early part of the twentieth century, it was recognized that a painting in reality is simply an object. It is created from a canvas stretched over a frame and covered with pigments. Just as a composer of symphonic music may be more interested in a work’s orchestration than in its melody, some painters downplay the importance of creating illusions (painting the subject matter to look “realistic”), instead they give attention to matters of form. All painters, regardless of their style, orchestrate their work by combining and arranging shapes, lines, colors, textures and spaces. These visual elements may be arranged in any way a person pleases. With them, an artist may paint a still-life, a portrait, or a scene and make it look “real.” If they choose they may use the elements also to abstract a subject or to not refer to a subject at all.

He Qi’s “Calling Disciples” announces its modernity with its style. His figures, boats and sails remain recognizable yet they are not described literally. As in a cloisonné, shapes are defined by thin dark lines and the colors within them are mostly flat. Jesus is on shore in the center foreground and is flanked by disciples; three of them are looking skyward inexplicably. The disciple on the far right has turned and is waving to a lone fisherman on a boat (the white beard suggests it is Peter – Andrew is not shown). The exchange of greetings between the fisherman and the disciple interjects a light storybook quality and the entire subject is treated as a formal study.

At a time when illiteracy was commonplace, art was an important means of communication. Unlike the Middle Ages, today we are able to read Matthew’s account of the calling of the disciples and an illustration of it may not contribute anything more than what is learned from the written word. Instead of providing insights into the biblical story, He Qi’s gives us harmonious color patterns and the absence of objectionable content; his painting is likely to be satisfying particularly to people attracted to “modernism.” “Calling Disciples,” is a painting that would fit nicely with “mid-century modern” décor.

Lamb of God | Art for A Epiphany 2

John 1:29 John saw Jesus coming toward him and declared, “Here is the Lamb of God who takes away the sin of the world!..”

Commentary by Hovak Najarian

(Click for other images from this commentary).

The Lamb of God (detail), Mosaic, 527, Basilica of Santi Cosma e Damiano, Rome, Italy

In Rome, Italy, many of the structures built by the ancient Romans remain in prominent areas of the city. In the Forum of Vespasian are the Temple of Romulus and the Library of Peace. In the sixth century, Theodoric, king of the Ostrogoths, conqueror of Rome, and an Aryan Christian, donated a portion of the two buildings to Pope Felix IV. Pope Felix used the space in AD 527 to build a basilica dedicated to Saints Cosmas and Damian.

According to tradition, the twin brothers, Cosmas and Damian were third century Christian physicians who practiced the art of medicine in provinces of Rome that are now in southern Turkey and northern Syria. The brothers provided healing free of charge and attracted many to the Christian faith. They were martyred in Syria, and because they accepted no payment, they were placed in a category of saints known as “Holy Unmercenaries.”

The layout of the mosaic above the apse of the Basilica of Saints Cosmas and Damian, is balanced bisymmetrically with Christ robed in gold at its center. He is much larger in size than the other figures and exists in a heavenly realm. Below him in the left foreground, Saint Paul is presenting Saint Cosmas to Christ and in the right foreground Saint Peter is presenting Saint Damian. Cosmas and Damian each have a crown of martyrdom in their hands. Behind St. Cosmas on the left is Pope Felix IV holding a model of the basilica and behind St. Damian is St. Theodore.

A row of lambs serves as a visual base or foundation to the scene of Christ in heaven with the saints. Christ, The Lamb of God (shown here), is in the center of the row facing outward toward the viewer. Twelve lambs – six on each side – represent the apostles; they are in profile facing the Lamb of God who is shown standing on a mound and wearing a halo. From the base of the mound flow the four rivers of paradise representing the Gospel going out to the four corners of the world through the apostles.

Photographs of the full apse mosaic convey the dramatic, colorful effect of Christ in heaven and the martyred physicians being presented but they do not show the Lamb of God. In the early seventeenth century, Baroque architect Domenico Castelli designed a new altar for the basilica; it extended upward and blocked a direct view of the lower central portion of the mosaic. The lambs that represent the apostles may be seen but the center lamb representing Christ (the detail that is shown here) is behind the altar.

John baptizes Jesus | Art for A Epiphany 1

Matthew 3:13 Jesus came from Galilee to John at the Jordan, to be baptized by him.

Commentary by Hovak Najarian

John Baptizes Jesus, oil on canvas, 1973, Bénédicte de la Ronciére, (20th
Century)

Artists made objects that supported the physical and spiritual needs of people throughout history and their work carried an imprint of the culture from which it came. When churches were established, art became a means by which biblical stories could be taught and worship enhanced.

In the Western division of the Church during the Middle Ages, artists painted images of the world they knew and thus biblical figures tended to be depicted as Europeans; the architecture and natural world in their paintings were their local surroundings. During the Renaissance of the fifteenth century, as painters were becoming highly skilled, the Italian heritage of Greek and Roman art brought in a classical overlay to Christian subjects and “art” evolved to exist in a realm of its own; it tended to be separate from the reality of the everyday world. The Renaissance spread throughout Europe and the art, music, literature, science, and technology that grew out of it influenced cultures of non-Europeans as well.

In recent years, a perceived need to make the arts accessible to a broader range of people led to Shakespeare’s plays being offered in a form they believed to be more palatable. Today, his plays may be seen in modern day settings with its language changed to the vernacular; the same has occurred in performances of opera. Fr. Francois Vidil of France was mindful of racial and cultural differences in people and he believed native Africans could not identify easily with biblical figures that were portrayed as white Europeans. In 1973, he worked with the Mafa Christian Communities in Africa as they staged scenes such as, “John Baptizes Jesus,” (shown here) with villagers in the roles of biblical figures. These re-enactments were recorded and illustrator Bénédicte de la Ronciére was selected to make paintings from the photographs of native Africans in these scenes.

These paintings fulfilled Fr. Vidil’s vision of casting Africans in the role of the people in biblical stories. Yet, just as the portrayal of biblical figures as Europeans in local settings was not accurate, neither was it accurate to depict biblical figures as African villagers. These paintings did not develop naturally out of the Mafa culture and although the scenes are in Africa, they are painted in a style common to European and American magazine illustrations. The subject matter of these paintings will receive attention undoubtedly from non-art sources and discussions about them will deal with social and cultural issues; not about aesthetics. It is unlikely they will receive attention from art critics and historians.

Marriage of Sts Mary and Joseph | Art for Advent 4A

Matthew 1:20…an angel of the Lord appeared to him in a dream and said, “Joseph, son of David, do not be afraid to take Mary as your wife”…

Commentary by Hovak Najarian

Marriage of Sts. Mary and Joseph, marble, 18th century, Giuseppe Torretti, 1664-1743

At the beginning of the eighteenth century the Baroque period in art was ebbing as patrons favored lighter surroundings. From this a decorative trend emerged in a style that is called Rococo; a name derived from ornamental sea shells used as embellishments in architecture. Giuseppe Torretti (also spelled Torretto), from a family of artists, was active during this period but while working with other sculptors in Rome, classicism influenced his work. In the “Marriage of Sts. Mary and Joseph” shown here, Torretti presents relief figures in a Baroque-like theatrical setting yet the robes being worn are in a classical style.

The subject of the marriage of Mary and Joseph has been included regularly in scenes of the Life of the Virgin but the story is not from accounts found in the Bible. It is mentioned in apocryphal sources which were compiled and included in a fourteenth century volume called the “Golden Legend.” In this account, Mary was living in the Temple and when she turned fourteen years old the priests decided it was time for her to marry. Young unmarried male descendents of David were sought to be her husband; Joseph, though older than the others, was included. All the men who qualified were asked to bring a branch and place it on the altar. The person bringing the branch that brought forth blossoms would be Mary’s husband. After the men placed their branches on the altar, the Holy Spirit descended as a dove and the one brought by Joseph burst immediately into flowers.

Torretti places Mary and Joseph in the foreground kneeling at the altar and facing each other in front of a priest in a traditional Jewish ceremony. The bride and groom are barefooted as are the witnesses. Joseph is depicted as a bald headed man with a beard; he is holding a branch with blossoms in his left hand and Mary’s head is covered with a shawl. Because of damage from a fire several parts of the sculpture are missing; among them are the hands of the priest and those of Mary and Joseph. From a maquette (a small terra cotta preparatory sketch made by Torretti before carving this piece in marble) [click to view] we know Mary and Joseph were reaching across to each other and holding hands. The priest’s right hand was extended in a blessing.

This relief carving of the “Marriage of Sts. Mary and Joseph” is in the dado of the Chapel of our Lady of the Rosary, in the Basilica dei Giovanni e Paolo (Basilica of John and Paul), Venice, Italy. A fire destroyed the Chapel in 1867 and the sculpture was discolored and damaged. Torretti’s maquette for this piece is in the Chrysler Museum of Art, Norfolk, Virginia.

St John the Baptist in the Prison | Art for A Advent 3

Matthew 11:2-3 When John heard in prison what the Messiah was doing, he sent word by his disciples and said to him, “Are you the one who is to come, or are we to wait for another?”

Commentary by Hovak Najarian

St. John the Baptist in the Prison, oil on canvas, c. 1565-70, Juan Fernandez de Navarrete, 1526-1579

In the mid-sixteenth century when Juan Fernandez de Navarrete was a youth, a period of study in Italy was a prerequisite for a career in art. Michelangelo, Titian, Tintoretto, and Veronese were still living and Italy attracted artists from throughout Europe. Navarrete, a young Spaniard, visited the major art centers in Italy and stayed in Venice to study Titian’s use of color. Then, as now, there were cultural differences between Italy and Spain and Navarrete’s interest was in gaining knowledge of techniques, not subject matter. During the Renaissance, the depiction of Greek and Roman gods and goddesses entered into Italian art but were not of interest in Spain where very few nude Venuses or classical themes were depicted. Instead, subject matter in Spain tended to depict religious themes of devotion and piety.

Spain was a world power in the sixteenth century and King Philip II, who assumed the throne of Spain in 1556, ruled an empire that included Naples, Milan, and The Netherlands; even the far off Philippine islands were named for him. He was determined to rule as a strong Catholic King and was intent on keeping Martin Luther’s teachings and the reformation out of Spain. When he was building his extensive royal monastery-palace (called El Escorial) he wanted the best artist available to paint its walls. Titian, however, was too old and his other choices, Tintoretto and Veronese, refused to live in Spain. Navarrete accepted the position and became known as the “King’s Painter.”

Navarrete’s “St. John the Baptist in the Prison” is not filled with superfluous details. John is alone in a cell with a shaft of dramatic light coming through a window fitted with iron bars. In art, John the Baptist is identified by his camel-skin clothes; he is depicted usually as being wiry, not soft as depicted here. He sometimes carries a crudely assembled cross made with a simple piece of wood split at the top with a crosspiece inserted and held together with twine. In this scene, John’s shawl has been laid aside and he is hunched bare-shouldered over a table looking at the cross. His expression suggests this is a time of prayer, contemplation, introspection, and sadness.

Note:

At the age of three, Navarrete was struck with an illness that affected his hearing. This made learning to speak difficult and he became known as El Mudo (The Mute). He compensated by communicating through drawings.

“St. John the Baptist in the Prison” is now in the Hermitage Museum in St. Petersburg, Russia.

St John the Baptist | Art for A Advent 2

Matthew 3:1-2 In those days John the Baptist appeared in the wilderness of Judea, proclaiming, “Repent, for the kingdom of heaven has come near.”

DONATELLO
(b. ca. 1386, Firenze, d. 1466, Firenze)
St John the Baptist (detail)
1438
Painted wood
Santa Maria Gloriosa dei Frari, Venice
Click image for more information.

Commentary by Hovak Najarian

St. John the Baptist (detail), painted wood, 1438, Donatello, c. 1386-1466

The term, “Renaissance man,” (used loosely today when applied to a contemporary person) is in reference to the great achievers of the fifteenth century. They were not only a “jack of all trades,” they also were masters of them all. Donatello (Donato di Niccolo di Betto Bardi) was such a man. He chiseled stone, cast bronze, modeled clay and stucco, and carved wood as he created a wide range of sculpture including, statues, monuments, and reliefs. This was all done with a high degree of creativity and excellence. Further, his understanding of sculptural space enabled him to be sensitive to how his work would interact in its architectural setting.

The career of Donatello is well known; he worked with Lorenzo Ghiberti on the first set of bronze doors for the Baptistery of Florence Cathedral and he studied the ruins of Roman architecture and sculpture with Brunelleschi in Rome. In his work, he helped to bring sculpture out of the Middle Ages by re-establishing it “in the round” (capable of being viewed from all sides). His studies of Roman sculpture led to imbuing a sense of personality and character in the faces and bodies of the figures he sculpted. His St. John the Baptist’s eyebrows are raised, an eye is squinting, and in the boney fingers of his left hand is a partially unrolled scroll showing the beginning of the phrase, “”Ecce Agnus dei” (Behold the Lamb of God). He stands with his right arm raised and his mouth slightly open as though he is about to speak.

The description of John the Baptist in the Books of Mark and Mathew give us an image of a fearless, camel skin-wearing man who lived in the wilderness and ate locust and honey. In art, he is pictured often as somewhat like a wild man with unruly hair, unkempt beard, and an intense facial expression. As the subject of paintings, he is most likely to be at the Jordan River baptizing Christ or in a ghoulish scene with his head on a platter after Salome danced before Herod.

St. John the Baptist, in the church of Santa Maria Gloriosa dei Frari in Venice, is different from most of Donatello’s familiar work. It is carved in wood and is painted. It is the only sculpture by Donatello in Venice and only his Mary Magdalene, which also is carved in wood, is similar in style. Until it was cleaned in 1973 its date was not known. Under the old paint from a previous restoration, it was discovered Donatello signed and dated it in 1438; much earlier than previously thought. How it came to be in Venice, however, is still uncertain. John the Baptist is the patron saint of Florence and it has been suggested a wealthy Florentine merchant living outside the city commissioned Donatello to carve the St. John for the church in Venice.

About Hovak Najarian

College of the Desert Professor Emeritus (Art) Hovak Najarian

Updated: May 14, 2024

If you are new to this blog, I am pleased to introduce you to (Dr.) Hovak Najarian. Since 2011 Hovak has introduced us to artists, art techniques, and art history to keep us growing in the knowledge and love of the Lord.

After receiving his MA in Art at Columbia University Hovak and his wife, Margie, spent 3 years in Normal, IL on the art faculty of Illinois State University. In his own words, “We soon found that natives of Florida and California were no match for winters in Illinois.”

In 1966 Hovak and Margie relocated to Southern California when Hovak accepted a teaching position at College of the Desert in Palm Desert. He retired in 1994 and was honored with the title Professor Emeritus (Art) by the College of the Desert. Again, Hovak: “During that time [1966-1994], I was Chair of the Art Department for many years, returned to Columbia University and completed my doctorate, and with Margie, raised three wonderful sons.”

In his retirement, Hovak continues his own creative work, and, has been an active participant in the Sunday Morning Forum and a regular contributor to this blog. Hovak is active in St. Margaret’s Episcopal Church and in the Armenian community in the Coachella Valley which gives him a unique perspective to share.

As we journey together I expect to learn more about art, art history, art as an expression of faith, and art as a shaper of faith. Together, let us hear what the Spirit is saying. ~Fr. Dan

What we are doing on earth—a bishop speaks

The Rev. Dr. Mariann Budde was consecrated as the ninth bishop of the Diocese of Washington on 12 Nov 2011 and was “seated” in her cathedral and preached her first “episcopal sermon” on 13 Nov 2011 in the National Cathedral. You can read her entire sermon here: What we are doing on earth.

To whet your appetite for reading, I offer this tidbit from the midst of her remarks. It is a remeinder to all of us of the unique character of our Episcopal Church (firmly in the “Anglican Tradition”). Enjoy.

My friends of the Episcopal Diocese of this Washington, you have called me to serve as your bishop at a decisive moment of opportunity and challenge for us all. The opportunity is all around us. We of the Episcopal Church have been entrusted with a particular expression of Christ’s gospel that is priceless. Think of what it means to you to have a spiritual home with such an appreciation of mystery and all that is beyond our knowing and curiosity about the world as we can know it through the rigorous inquiry of science.

Think of what it means to you to have a spiritual home that lives the Via Media, the middle way among all expressions of Christianity, affirming the wholeness of faith that can only be fully experienced in the creative tension of polarities — heart and mind, Catholic and Protestant, word and sacrament, mysticism and service, contemplation and social engagement. Think of what it means to you to be part of a Church that does not ask its members to agree on matters of politics or theology or biblical interpretation, but rather to allow the grace of God to unite us at the altar of Christ in full appreciation of our differences and the God-given right of everyone to be welcome at God’s table.

Come back and leave a comment or two. Share your reaction to her sermon. What is stirred up within you? What did you learn? What did you relearn? Let us know by leaving a comment.

Photo: Episcopal News Service

Are you ready for a timely word?

In the Forum over the last several weeks we have talked about and learned from Moses, our great ancestor in the faith. Brother Give Us A Word is a daily word of wisdom delivered via email. Here is today’s word, as if Br. Geoffrey was listening in to the Forum discussion:

FRIENDSHIP

“Why have you laid the burden of these people on me…? I’ve had enough. I can’t do it anymore. I cannot carry all these people on my own. They’re too heavy for me. I’m so miserable, I’d rather die…” How is it that Moses…dared to speak to God with such a bold and forthright prayer? It is because Moses had, over time, come to know God in a very intimate way. We are told that Moses walked with God and, a couple chapters later in the Book of Numbers, God says, “I am pleased with you Moses. I know you by name….” Moses talked with God in this way because he was God’s friend.

-Br. Geoffrey Tristram via Brother, Give Us A Word | Subscribe to a Daily Meditation from the SSJE Brothers.

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Photo: Episcopal News Service

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