Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts

Friday, August 3, 2012

The Ladder of St. Augustine

                                                       The Ladder of St. Augustine

By Henry Wadsworth Longfellow
artist: Philippe de Champaigne 17th-century
Saint Augustine!  well hast thou said,
That of our vices we can frame
A ladder, if we will but tread
Beneath our feet each deed of shame!

All common things, each day’s events,
That with the hour begin and end,
Our pleasures and our discontents,
Are rounds by which we may ascend.

The low desire, the base design,
That makes another’s virtues less;
The revel of the ruddy wine,
And all occasions of excess;

The longing for ignoble things;
The strife for triumph more than truth;
The hardening of the heart, that brings
Irreverence for the dreams of youth;

All thoughts of ill; all evil deeds,
That have their root in thoughts of ill;
Whatever hinders or impedes
The action of the nobler will; —

All these must first be trampled down
Beneath our feet, if we would gain
In the bright fields of fair renown
The right of eminent domain.

We have not wings, we cannot soar;
But we have feet to scale and climb
By slow degrees, by more and more,
The cloudy summits of our time.

The mighty pyramids of stone
That wedge-like cleave the desert airs,
When nearer seen, and better known,
Are but gigantic flights of stairs.

The distant mountains, that uprear
Their solid bastions to the skies,
Are crossed by pathways, that appear
As we to higher levels rise.

The heights by great men reached and kept
Were not attained by sudden flight,
But they, while their companions slept,
Were toiling upward in the night.

Standing on what too long we bore
With shoulders bent and downcast eyes,
We may discern — unseen before —
A path to higher destinies,

Nor doom the irrevocable Past
As wholly wasted, wholly vain,
If, rising on its wrecks, at last
To something nobler we attain.

Saturday, November 13, 2010

Mary Didn't Use Formula

Maria Lactans:
Mary as Nursing Mother 

source: http://www.fisheaters.com/marialactans.html

Consider: From the Protoevangelium of S. James:
And they stood in the place of the cave: and behold a bright cloud overshadowing the cave. And [Mary's] midwife said: My soul is magnified this day, because mine eyes have seen marvelous things: for salvation is born unto Israel. And immediately the cloud withdrew itself out of the cave, and a great light appeared in the cave so that our eyes could not endure it. And by little and little that light withdrew itself until the young child appeared: and it went and took the breast of its mother Mary.
From St. Ephraem's Hymns on the Nativity:
Mary bore a mute Babe
though in Him were hidden all our tongues.
Joseph carried Him,
yet hidden in Him was a silent nature older than everything.
The Lofty One became like a little child,
yet hidden in Him was a treasure of Wisdom that suffices for all.
He was lofty
but He sucked Mary's milk,
and from His blessings all creation sucks.
He is the Living Breast of living breath;
by His life the dead were suckled, and they revived.
Without the breath of air no one can live;
without the power of the Son no one can rise.
Upon the living breath of the One Who vivifies all
depend the living beings above and below.
As indeed He sucked Mary's milk,
He has given suck -- life to the universe.
As again He dwelt in His mother's womb,
in His womb dwells all creation.
Mute He was as a babe,
yet He gave to all creation all His commands.
For without the First-Born no one is able to approach Being,
for He alone is capable of it.

Mary's Milkdrops
(Lungwort: Pulmonaria officinalis)
It is amazing how female breasts can be surgically enlarged, reduced, lifted, and pierced, stuffed into "Wonder Bras," packaged, marketed and sold (or used to market and sell other things), but are rarely conceptualized in the Western world as being what they truly are: the means to feed babies.

While discretion, modesty, and politeness are always key virtues (for anyone, not just women), the way we think of the female breast is partially culturally conditioned, and I'm convinced that the modern Western view is unhealthy. Many years ago, I saw Joan Rivers on a TV show introduce a year's worth of "Playboy Playmates." Miss Rivers gushed over them, lauding them for their beauty, brains, talent, and "wisdom" in using their bodies to make a living. Then she introduced actress Connie Selleca who'd recently given birth to a child. "Oh, I hope you're not one of those women who breastfeeds in public!" she said. If I could've slapped Miss Rivers, I might have. What harm such attitudes cause women and their children! Breastfeeding is among the very best things a woman can do for her children, and I applaud women who give their children that, whether in private or, given our piggish, dirty-minded culture, discreetly in public.

To inspire women on, below are links to some of the most famous artistic depictions of Mary as nursing mother -- "Maria Lactans." They will open in new browser windows.


One of the earliest depictions (if not the earliest depiction) of Mary, this is Our Lady as painted in the Priscilla Catacombs, ca. A.D. 250
An early Coptic nursing Mary
Amesbury Psalter, 13th c.
Artist: Lorenzetti, ca. A.D. 1330
Anonymous French sculpture, ca. A.D. 1335
Artist: Berry, 14th. c.
Artist: Berry, 14th. c.
Wall painting in a church in Belchamp Walter, Essex, ca. A.D. 1350
Artist: Ghissi, ca. A.D. 1350
Artist: Pisano, ca. A.D. 1360
Artist: Veneziano, ca. A.D. 1370
Artist: Orcagna, ca. A.D. 1370
Artist: Bertram, ca. A.D. 1383
Artist: Serra, ca. A.D. 1390
Artist: Gaddi, ca. A.D. 1390
Artist: Camerino, ca. A.D. 1400
Artist: Bartolo, ca. A.D. 1400
Artist: Robert Campin, "The Master of Flemalle," ca A.D. 1400
Artist: Robert Campin, "The Master of Flemalle," ca A.D. 1400
From "Les Très Belles Heures du Duc de Berry," ca. A.D. 1409, illustrated by the brothers Jean, Paul, and Hermann Limbourg. The brothers also later illustrated the better known "Les Très Riches Heures du Duc de Berry" (some illustrations for this work were later added by Jean Colombe).
Artist: Bartolo, ca. A.D. 1415
Artist: Masolino, ca. A.D. 1420
Artist: Masolino, ca. A.D. 1420
Artist: di Lorenzo, ca. A.D. 1430
Artist: Weyden, A.D. 1435
Artist: Van Eyck, A.D. 1436
Artist: Paolo, A.D. 1445
Artist: Fouquet, ca. A.D. 1450
Artist: Gozzoli, ca. A.D. 1484
Artist: Memling, ca. A.D. 1478
Artist: Memling, ca. A.D. 1487
"The Miraculous Lactation of St. Bernard." This painting depicts the spiritual nourishing of St. Bernard by the milk of Our Lady, based on this legendary mystical experience: Bernard prayed before a statue of the Madonna, asking her, "Show yourself a mother" ("Monstra te esse Matrem"). The statue came to life and and squirted milk from the breast onto the Saint's lips. Artist: Unknown Master, Netherlandish, 1480-85
Artist: Domenico, ca. A.D. 1490
Artist: Gerard David, ca. A.D. 1490
Artist: Gerard David, A.D. 1490
Artist: Michelangelo, A.D. 1496
Anonymous Italian, 15th c.
Artist: da Vinci, ca. A.D. 1500
Artist: Solario, A.D. 1500
Artist: Mainardi, ca. A.D. 1500
Artist: Signorelli, ca. A.D. 1500
Artist: Romano, A.D. 1510
Artist: Cleve, ca. A.D. 1512
Artist: Durer, 1512
Artist: Durer, 1520
Artist: Cleve, ca. A.D. 1520
Artist: Coreggio, ca. A.D. 1520
Artist: Conti, ca. A.D. 1520
Artist: Durer, ca. A.D. 1520
Artist: Michelangelo, A.D. 1520
Artist: Orley, A.D. 1522
Artist: Beccafumi, A.D. 1540
Artist: Morales, A.D. 1520
Artist: Barocci, A.D. 1575
Artist: Coxcie, Michiel van, ca. A.D. 1580
Artist: Reni, Guido, A.D. 1575-1642
Anonymous 16th c.
Artist: El Greco, ca. A.D. 1600
Nuestra Señora de Leche y Buen Parto (Our Lady of Milk and Good Birth). This statue, ca. A.D. 1600-1620, is kept in the shrine devoted to Nuestra Señora de Leche y Buen Parto in St. Augustine, Florida -- the first Marian shrine in the United States.
Artist: Rembrandt, A.D. 1630s
Artist: Rembrandt, A.D. 1640
"The Miraculous Lactation of St. Bernard." This painting depicts the spiritual nourishing of St. Bernard by the milk of Our Lady, based on this legendary mystical experience: Bernard prayed before a statue of the Madonna, asking her, "Show yourself a mother" ("Monstra te esse Matrem"). The statue came to life and and squirted milk from the breast onto the Saint's lips. Artist: Alonso Cano, A.D. 1650
Artist: Zubaran, A.D. 1659
Artist: Werf, Adriaen van der, 1714
 Unsorted, Anonymous
Anonymous, Peruvian "Cuzco School"
Anonymous, Peruvian "Cuzco School"
Anonymous
Anonymous
Painting from Bethlehem's ancient "Milk Grotto." The chapel whence this picture comes was built around the grotto by Franciscans in 1872.

Tuesday, September 14, 2010

Our Lady of Sorrows

Today the Church commemorates Mary as Our Lady of Sorrows. Over the centuries, many Christians have meditated upon the Seven Sorrows of Mary described in the gospels.

Her 1st Sorrow was when she and Joseph brought the 8-day old Jesus to the Temple at Jerusalem for his circumcision (Lk 2:34). Circumcision for the Jews is a sign of their covenant with God, and the spilling of baby Jesus' blood in this Temple foreshadowed the eventual death sentence he would receive there, thus sealing the New Covenant in his blood.

At the Temple, Mary was confronted by the prophet Simeon. He told her that Jesus would be the promised light to both the Israelites and the Gentiles, but that Christ would also be rejected and that Mary herself would be pierced by a sword of sorrow. This is why in Christian art, Mary's heart is shown wounded by a sword or swords.

Her 2nd Sorrow came when an angel warmed Joseph to flee to Egypt with Mary and baby Jesus (Mt 2:13). The evil King Herod wished to destroy the child, and was willing to slaughter thousands of children in order to do so. For a man who was supposed to protect the people to show such hatred for innocent human life must have broken Mary's heart. This sorrow reminds us that it is the duty of families and leaders to protect innocent human life. It also reminds us to show compassion to families who are forced to come to our land seeking safety.

Mary's 3rd Sorrow came when she and Joseph lost the 12 year old Jesus in the Temple (Lk 2:43). Twenty-one years later, Mary would again lose Jesus in the Temple of Jerusalem during the Feast of the Passover, where the religious leaders would once again question him, this time condemning him to die. We must use our voices to speak for anyone who is wrongly condemned to die. We must offer comfort to mothers who lose their children due to illness, crime, poverty, or war.

Mary's experienced a 4th great sorrow
years later, when she followed her Son out of Jerusalem as he carried his cross to the hill of Calvary (Lk 23:26). Here Mary shows the same courage and obedience as Abraham, who was also willing to sacrifice his beloved son Isaac on a wooden altar atop a hill.

Mary's greatest sorrow, the fifth, was seeing her son die (Jn. 19:25). His hands had healed so many, even raising the dead back to life. Now his healing hands were held back by nails. The face that she once washed clean was covered in blood, the hair that she once combed now tangled in a crown of thorns. This image alone should make us feel disgust for violence and revulsion for anything that disrespects innocent life. When we see Mary weeping, this should make us want to wipe away her tears by our efforts to obey her son.

Mary's 6th Sorrow was when her son's lifeless body was taken down and given to her (Mt. 27:57). Along with the other female disciples, it was Mary's duty to clean the body and prepare it for burial. She suffered to bring him into our world, to raise him, and now he dies to pay for our sins. This should drive us to repent, to show deep respect to our mothers and to all women.

Mary's last sorrow
came when she buried her son. Just as she brought him into the world in a stable that was once a cave, Jesus is now buried in a cavern carved into a rocky hill. As a baby, he was placed in a borrowed cradle. Now he lies in a borrowed tomb. As an infant, he was wrapped in blankets, and he is now buried in a simple white shroud. This last sorrow calls us to respect the dignity of each and every human life no matter how poor, no matter how that life begins or ends.

Mary's heroic strength through these sorrows prepared her heart for the joy of Christ's resurrection days later. We are called to imitate her, bravely accepting suffering, showing kindness to others who suffer. Like Mary, we can find joy and hope in knowing that Jesus has conquered suffering and death. His victory is our peace

___________________________________________________________________________ 
The pieta is any image of the Virgin Mother holding the body of her crucified Son. Like other depictions of Mary, artists through the ages have presented this theme in their own style. I have selected a wide range of Pieta images by different artists each one worthy of appreciation and prayerful contemplation. Enjoy . . .

William-Randolphe Bouguereau's Pieta
http://www.illusionsgallery.com/Pieta-L.jpg

http://www.daily-word-of-life.com/DailyWord/OL_Sorrows.jpg

Michelangelo's Pieta (unique angles)
http://mindyourmaker.files.wordpress.com/2007/02/michelangelo-7.jpg  (second graphic on post)

http://saintpetersbasilica.org/Altars/Pieta/Pieta-rightview.jpg

Michelangelo's later version
http://static.howstuffworks.com/gif/michelangelo-sculptures-43.jpg

El Greco's Pieta (graphic at top of post)
http://jssgallery.org/other_artists/el_greco/pieta.htm

From an ancient Eastern Icon of the Pieta
http://web.mit.edu/ocf/www/images/off_cross.gif

Modern photography and film
http://www.virginmary.nl/pieta/abramovic_marina_la%20pieta_2004.jpg

http://www.parvis.ch/stella_maris/images/la_passion_mariesang_christ.jpg

____________________________________________________________________________________
SOURCE and Hat Tip: Joseph Hebert

Monday, January 4, 2010

The Feast of the Epiphany

I love celebrating The Feast of the Epiphany. I like how it is "transferred" to the closest Sunday before January 6 even though the actual date for the feast is January 6.  On the Sunday following January 6 we celebrate the Baptism of Our Lord.
But what all of this means to me is that I can sort of dwell in the Feast of the Epiphany for a number of days! It must have taken a number of days for the magi to reach the Christ child. Imagine the anticipation during their journey and the wonder-filled joy at journey's destination.  I am finding some great posts about the magi and the Feast of the Epiphany.  I wanted to record (@ least part of ) them here in my Catholic Notebook. I hope you will enjoy reading these snippets of wisdom, too.


from A Concord Pastor Comments
And having been warned in a dream not to return to Herod,
they departed for their country by another way.

Perhaps the most important part of this story for us is:
not the star
not the prophet’s words
not the audience with King Herod
not the visit to the Christ Child
not the gifts…
but perhaps, for us,
the most important part of the story of the Magi
is how they went home…
They went home by another way…

In the grand revelation
of God’s love made manifest to us in Christ,
this story of the Magi is meant to remind us
that Christ came not only for the chosen people of Israel
but for us, too -Gentiles-
represented by the mysterious visitors from the East.
And there’s something to be learned
from how their pilgrimage and meeting with Christ
served to re-orient them: how they went home by another way.

Simply having met Jesus made them marked men in Herod’s court.
They had met the “newborn King of the Jews”
and that encounter was a threat to those in power.
Because they had met Jesus,
the Magi were no longer welcome or safe in Herod’s palace.

(Painting to the right is a Rembrandt)

Because they had met Jesus,
their journey home had to be re-routed.
Because they had met Jesus,
their old maps would no longer be enough.
They were beginning a journey that would take them
on a path that was new to them,
a path they’d not walked before.

And therein might lie the importance of this story for us.
Are we not those who have met Jesus?
Would we be here today if we hadn’t already met Jesus?
But if we’ve met the Lord -
has that encounter re-routed our lives’ journeys?
Whose star do we follow?
What prophet’s words shape our thoughts, influence our choices?
What gifts do we work for?
To whom do we offer them - and why?

Has our encounter with Christ
made us more welcome or unwelcome in places of power?

Has our having met Christ “marked” us
as men and women whose path leads them
by another way - by a way that many will not walk?

And having been warned in a dream not to return to Herod,
they departed for their country by another way.


It’s important to see that the Magi did go home.
They were not asked to leave their home but rather, to approach the familiar from a new, a different perspective.

(Painting to left is by Leonard da Vinci)

Does our knowing Christ re-orient us
and how we approach the familiar ups and downs of our lives?

Did our recent celebration of Christmas,
re-chart the journey we’re on?

Or are we already back in Herod’s court,
our encounter with Christ tucked away for another year
with the Christmas lights and decorations?

What we celebrate in the Christmas mystery
is how God remapped divinity and visited us in Jesus
- and then, went home by another way,
went home by way of human suffering and death,
went home to prepare a place for us in heaven
even as Christ prepares a place for us at this table
where we remember the path home he walked to the Cross,
in whose shadow we pray.

May the Eucharist we receive, wherein we meet Christ Jesus,
strengthen each and all of us,
to go home by another way…

from The Deacon's Bench
The story of the magi is one of the more mysterious in the New Testament. The gospel doesn't tell us how many of them there were; one early Christian tradition actually told of 12 astronomers making their way to Judea, presumably paralleling the 12 tribes of Israel and, of course, the 12 apostles. But somehow - probably because of the number of gifts mentioned - the number over the centuries dwindled to three. Matthew's gospel is the only one that even mentions them. We really don't know much more about them, except that they were searching for Jesus.

As I told my wife the other day: their visit to Herod is the last time in recorded history that a group of men stopped somewhere to ask directions.


But there is something about their journey that is both poignant, and profound. Among other things, the travels of the magi teach us the value of trust. They trusted in power from above to pierce the night and point the way. Their story also tells us that even the wisest of men need help to find their way.

It's significant, I think, that the magi traveled as a group - because no one makes a journey of faith alone. As a church, we are a community: a body of people looking out for one another, supporting one another. We are all traveling, somehow, in the same direction. And when we can, we also help one another to read the skies, and follow the way to the light.

So it was with the magi.

(Painting above is a Durer)

@ About Catholicism
Prayers:
Collect for the Feast of the Epiphany of Our Lord Jesus Christ (from the Mass of St. Pius V):
O God, Who by the guidance of a star didst this day reveal Thine only-begotten Son to the Gentiles, mercifully grant that we, who know Thee now by faith, may be so led as to behold with our eyes the beauty of Thy majesty. Through the same Lord Jesus Christ, Thy Son, Who liveth and reigneth with Thee in the unity of the Holy Ghost, God, world without end. Amen.

History:
The Feast of the Epiphany of Our Lord Jesus Christ is one of the oldest Christian feasts, though, throughout the centuries, it has celebrated a variety of things. Epiphany comes from a Greek verb meaning "to reveal," and all of the various events celebrated by the Feast of the Epiphany are revelations of Christ to man. Like many of the most ancient Christian feasts, Epiphany was first celebrated in the East, where it has been held from the beginning almost universally on January 6. Today, among both Eastern Catholics and Eastern Orthodox, the feast is known as Theophany—the revelation of God to man.

Epiphany originally celebrated four different events, in the following order of importance:
  1. the Baptism of Christ
  2. Christ's first miracle, the changing of water into wine at the wedding in Cana
  3. the Nativity of Christ and 
  4. the visitation of the Wise Men or Magi
Each of these is a revelation of God to man: 
  1. @ Christ's Baptism, the Holy Spirit descends and the voice of God the Father is heard, declaring that Jesus is His Son
  2. @ the wedding in Cana, the miracle reveals Christ's divinity
  3. @ the Nativity, the angels bear witness to Christ, and the shepherds, representing the people of Israel, bow down before Him
  4. @ the visitation of the Magi, Christ's divinity is revealed to the Gentiles—the other nations of the earth.
Eventually, the celebration of the Nativity was separated out, in the West, into Christmas; and shortly thereafter, Western Christians adopted the Eastern feast of the Epiphany, still celebrating the Baptism, the first miracle, and the visit from the Wise Men. Thus, Epiphany came to mark the end of Christmastide—the twelve days of Christmas, which began with the revelation of Christ to Israel in His Birth and ended with the revelation of Christ to the Gentiles at Epiphany.
Over the centuries, the various celebrations were further separated in the West, and now the Baptism of the Lord is celebrated on the Sunday after January 6, and the wedding at Cana is commemorated on the Sunday after the Baptism of the Lord.  (painting to right is a Botticelli)

In many parts of Europe, the celebration of Epiphany is at least as important as the celebration of Christmas. In Italy and other Mediterranean countries, Christians exchange gifts on Epiphany—the day on which the Wise Men brought their gifts to the Christ Child—while in Northern Europe, it's not unusual to give gifts on both Christmas and Epiphany (often with smaller gifts on each of the twelve days of Christmas in between).

@ Canterbury Tales
According to legend, the bodies of Gaspar, Balthasar, and Melchior (the traditional names of the Wise Men) were discovered by Saint Helena during her pilgrimage to the Holy Land. The fourteenth century account by John of Hildesheim entitled History of the Three Kings explains how Queen Saint Helen brought the mummies of the Magi to Constantinople.
After she had found the bodies of Melchior, Balthazar, and Gaspar, Queen Helen put them into one chest and ornamented it with great riches, and she brought them into Constantinople.
Later, the three mummies were transferred from Constantinople to Milan. The city of Milan was once known for its festive observance of the feast of Epiphany, and the presence of the three Wise Men's relics in that city may be the context and origin for this ancient custom. The Holy Roman Emperor Frederick moved the mummified Magi one last time to Cologne in AD 1164 where they rest till this day. If you get to Germany, be sure to check it out.

Photo of the golden casket of the three Wise Men

Are the bones of three Wise Men really in Germany? God only knows...but I like to think so. And remember: Wise Men still seek Jesus.

Wednesday, January 7, 2009

Recycle! Re-Use! Re-Create! Plastic Bag Creations


Recycle! Re-Use! Re-Create! (Cross posted @ The Best Nest)

The first step is to make plarn. Yep, you read that correctly, plarn.

Plarn is the term used to describe the yarn that can be made from recycling plastic bags. The link with the best description and pictures, in my opinion, is Making Plarn.

After the light bulb goes off and you are thinking, I get it! Try making one long strand of Plarn -- cool!








Working w/ Plarn - Hints and Tips!


Can't crochet? Learn how to fusing a few plastic grocery bags together to use in crafting. Plastic Bag Fusing

Monday, June 9, 2008

Symbols of the Four Evangelists and Jesus





Stained Glass Window of Evangelist's Symbol for Matthew - St. Ignatius Parish, San Francisco
St. Matthew's Symbol: An Angel
Stained Glass Window of Evangelist's Symbol for Matthew - St. Ignatius Parish, San Francisco
St. Mark's Symbol: Winged Lion


Stained Glass Window of Chi Rho Symbol - St. Ignatius Parish, San Francisco
Symbols of Jesus:
Chi Rho & Alpha Omega


Stained Glass Window of Evangelist's Symbol for Luke - St. Ignatius Parish, San Francisco
St. Luke's Symbol: Winged Ox
Stained Glass Window of Evangelist's Symbol for John - St. Ignatius Parish, San Francisco
St. John's Symbol: An Eagle



Image source: http://catholic-resources.org/Art/USF-StIgnatiusParish.htm

Monday, November 26, 2007

Doors and Art (as Experience)

I found this fascinating post (to which I have added just a wee bit) over at Adam's Ale.


Doors play a strong symbolic role in the life of a Christian. It is symbolic of the entrance to the gates of heaven to which Peter had been given the keys. Often you will notice that the front doors of cathedrals are as ornate as the high altar, well, at least they were, as their symbolic use reminded those going to mass that they were entering into God’s house.

There is also the tradition of the Jubilee Year and the opening of the door at St. Peter’s in Rome. For more information look here.

But very intriguing are the doors in the place where we live. Dr. Paul Daum, who was one of my professors when I was in school to study set design, told the story of a set he had designed for which he received a lot of criticism. The play involved a Jewish family living in a Jewish town. “Notice the doors,” he told us. “You would never see these doors in a building built to accommodate people of the Jewish faith.”

The doors did not look any different than any doors that I had ever seen, but then he explained the symbolism to us. According to him, the long board down the center and the narrower cross board represents the cross of our Lord. The lower cross board which is much wider than the others, is an open Bible.

Even if it is not true, it should be.




A second common door in the places we live is called a “witch’s door”. Many barn doors and aluminum storm doors have this shape to them. Much of the door or at least the bottom half has an “X” through it. This is Saint Andrew’s cross. At one time St. Andrew was depended upon to protect people from witches. His cross was a marker of his presencee and intercession where people who wanted nothing to do with witches lived.



Note from Soutenus: As I added pictures and a couple more details to this post I realized that I really love doors.

Now, I have always had a thing for keys. . . I have made mobiles, musical instruments and collages with them. But doors! I did not realize it until just now.
They can be so expressive, beautiful and full of stories. Now with this new found knowledge from Adam's Ale I will appreciate them all the more.

My son and I worked on a post about Red Doors for his blog. I will have to include it over here at Catholic Notebook sometime soon.

This all makes me remember a wonderful and classic book called, Art as Experience, by John Dewey.
"For to perceive, a beholder must create his own experience. And his creation must include relations comparable to those which the original producer underwent....Without an act of recreation the object is not perceived as a work of art." (p. 54)


On the subject of art as experience, Dewey also said,
"The live being recurrently loses and reestablishes equilibrium with
his surroundings. The moment of passage from disturbance into
harmony is that of intensest life." (p. 17)
That brings art right into the realm of religion. Is it no wonder that great art not only can glorify God but can also speak to us in a way that nothing else can?
God has a great sense of humor. I am touched and filled with joy to know that. . . .a simple door can do that for me!


If you are interested in more of Dewey's aesthetic philosophy (particularly as it pertains to literature according to Dan Green ) check out: The Reading Experience
Go here for a photographer's view: Politics, Theory, Photography



Friday, August 3, 2007

Beautiful Iconicity of Language (Beauty pt3)

Fr. Stephen Freeman wrote (in his thesis at Duke University) about the iconicity of language, meaning that language, especially Holy Scripture, functions in a manner similar to the Holy Icons. He wrote: The Fathers of the Seventh Ecumenical Council stated that "icons do with color what Scripture does with words."

Fr. Freeman turned that statement around and asked if Scripture does with words what icons do with color.

I quote, paraphrase and add to Fr. Freeman's post at Pontifications
Icons makes present what they represents. Scripture may indeed best be understood in an iconic fashion. An icon of Christ is not Christ Himself, but a representation of which He is the prototype. But, St. Theodore the Studite noted, it is a representation of the hypostasis

(the substance or underlying reality), the person of Christ, rather than a representation of His nature. This is a significant dogmatic statement, because it provides a way for speaking of Christ’s presence in a manner that is not a sacrament, in the sense of the Eucharist.
  • The Holy Fathers taught that the Eucharist is not an icon, but the very Body and Blood of Christ.
  • Thus there is not a normal analogy between an icon and the Eucharist. Neither is Holy Scripture to be likened to the Eucharist, for it is like the icons.

    An icon is holy because of the presence of the “person,” not because the wood and paint have undergone any change.

Christ is “hypostatically present,” but not “naturally present.” He does not become incarnate as wood and paint. This notion of “hypostatic representation” opened a whole new way of understanding the Scriptures and of speaking of their role in revelation.

Icons have many strange features (at least those painted in accordance with the canons).

  • The characters a drawn in a manner that differs from photographic reality.

  • Time is somewhat relative - several events separated by time may be pictured together in the same icon if there is a connection between them and they enlighten one another.

    So, too, the Gospels have a way of presenting the saving actions and teachings of Christ that are iconc.
  • They frequently ignore time sequence placing events in differing relationships to the whole in order to reveal yet more of the Truth of Christ. St. John’s gospel is perhaps the most obvious in this respect. Following the Prologue there is a sequence of water stories, followed by a sequence of bread stories. Little wonder that the Church traditionally used St. John for its post-baptismal catechesis. His pericopes are far more like pictures than narratives.

It is possible to see how the Scriptures resist rational forces that seek to wrest them into one thing or another.

  • One rationalist seeks to harmonize all the Scriptures in a mechanical manner that yields a narrow conception of inerrancy.

  • Another rationalist seizes on the iconic character of Scripture and assumes that these oddities represent historical flaws.

Like an icon, the Scriptures present the Truth of God to us - and do so in a way that we can indeed begin to see the truth. There is a propositional character to be found in Scripture - after all, an icon of a human being still looks like a human being even if it is painted in a style that is other than photographic. But the propositions of Scripture function in a manner similar to the Holy Icons. We are not led to reason God, but to know God.


The propositions of Scripture, particularly the most confusing ones, lead the reader to see what cannot be seen in this world until we have the eyes to see it. St. John’s gospel has a transcendent beauty in its words - a beauty never lost regardless of the language into which it is translated. The beauty is more than the sum total of the words or even the beauty of lofty concepts. It is a beauty that is nothing other than the personal (personal as in hypostatic: The underlying reality) representation of Christ.

“These things are written so that in reading them you might believe.”

There exists the Gospel of St. John; therefore, God exists. God is indeed saving the world through beauty just as Dostoevsky said.

Here are links to some of Fr Freeman's newer posts with similar threads of thought. http://fatherstephen.wordpress.com/tag/icons/ http://fatherstephen.wordpress.com/2007/02/13/
I just found that he has his own blog called: Glory to God for All Things

Friday, July 20, 2007

Authentic Beauty (Beauty continued - pt2)

In the ugliness of Calvary, God showed us his redemptive power, his unconditional love for his children and his everlasting splendor. He took something horrible and made us understand the sheer, almost blinding, beauty of his love for us.

This saving beauty is visible and felt. It is in the image of Jesus on the cross, in Christ's presence in the Eucharist, and in sacred art and music.
BUT! Beauty is also present in the natural world God created, like in a moonlit night, a sunrise, a field or the smile of a child. (I am paraphrasing U.S. Bishop William B. Friend of Shreveport, Louisiana here!)

At our last reading group meeting a man shared his conversion story with us. This gentleman is a scientist who was raised in a Jewish family - he was a third generation atheist. His conversion began with a blade of prairie grass. Yes, you read that correctly! He told us that it was in a moment of pure appreciation of the sheer beauty of that piece of prairie grass -- that it hit him. "This is a work of art. Some greater being created this." That was the true and almost tangible beginning of his journey to finding God and the the fullness of truth in the Catholic Church.

Talk about beauty as persuasive proof of God’s existence!

Dostoevsky said " God will save the world through beauty." I concur and I believe that God reaches out to us in beauty. . . beauty is a strong communication tool. Beauty is an impetus all its own. It is why I danced and continue to teach dance. It is why my husband sings, why our daughter plays so many instruments and why our son dances.

Christian beauty is also manifest in people who live a life of holiness.
Slovenian Jesuit Father Marko Rupnik said people infused with love for the other become beautiful. It is not enough to offer kind words and do good deeds; "only spiritual people" bathed in the grace of the Holy Spirit emanate beauty, he said.
I love that wording. INFUSED with love for the other.
Cardinal Ivan Dias of Mumbai, India, said the lives of the saints can be inspirational even for people of other religious faiths or no faith at all. This is compelling. It reminds us to share the lives of saints with other people, with our children, with our spouse. . . let their depth of Christian beauty help to turn hearts to God. Sometimes we should forget apologetics lest it become a debate.
Most holy people do not often embody modern notions of beauty. For example: Blessed Mother Teresa of Calcutta, was poor and Pope John Paul II, was ailing and practically voiceless, and yet they still attracted people of all beliefs to listen to their message, Cardinal Ivan Dias points out.

People living a holy life might also be the object of ridicule, persecution or other hardships, making them unpopular and hardly attractive to most people, he said.
But the beauty of Christian holiness is like looking at a cocoon, he said. "Some despise the worm there as ugly, while others see in it a beautiful butterfly in the making."

A world that has become indifferent and jaded by so much flash, glitz and dazzle needs authentic beauty, participants said, and it's the church's mission to point out that "via pulchritudinis." ( <--- beautiful life)

Father Rupnik said beauty is what links humanity to God and the divine. Take away the saints and angelic cherubim, and people are "left with only the animals," or worse, are alone.
I would add, "Take away fine art and we are left berift of an important way of praising God and expressing our love of God."

Quoting Pope Paul VI in his Dec. 8, 1965, letter to artists, Cardinal Poupard said the world "needs beauty in order to not sink into despair. It is beauty, like truth, which brings joy" to the human heart, and "resists the wear and tear of time." To be continued soon in a post called, "The Iconicity and Beauty of Language"

Tuesday, July 17, 2007

Beauty

I found this quote at Henry's (Karlson's) blog. It is a beautiful poetic beginning to my post.

"With the arrogance of youth, I determined to do no less than to transform the
world with Beauty. If I have succeeded in some small way, if only in one small
corner of the world, amongst the men and women I love, then I shall count myself
blessed, and blessed, and blessed, and the work goes on." -- William Morris

Maybe it is because I am a dancer with a fine arts (undergraduate) background.
Maybe it is because my husband is a professional musician and our eldest a Music/English major. One of my dearest friends in the world is an artist and art teacher . . . . you see the pattern, I am sure.

Well, it only makes sense to me that some of the most persuasive proof of God’s existence is the one that apologists and textbooks do not usually talk about. . . .

I believe these quotes may best open the door to what I am trying to express.

<--- graphic on left "There exists the icon of the Holy Trinity by St. Andrei Rublev; therefore, God exists".- St. Pavel Florensky from his final theological work, Iconostasis (1922)

Dostoevsky says , “God will save the world through beauty.”

"There is a beauty that both transcends our world and at the same time establishes and saves our world. Rightly understood, they are also related to Holy Scripture. " Fr. Stephen Freeman

. . . . . . more to follow in my next post . . . . . . .

Thursday, May 24, 2007

Mary Magdalene in Art - Feast Day July 22

There are many famous paintings
of Mary Magdalene with a pale
complexion and red hair.
It is an unlikely combination for
a 1st century Middle Eastern
Jewess or Gentile.
Although, women at the time did use
henna on their hair. But the paintings
are beautiful, none the less.

(above left)
by He Qi, Chinese scholar and artist


( near left) - Frederick Sandys 1829 - 1904 born Antonio Frederic Augustus Sands




Sister of St. Lazarus and St. Martha, she is called "the Penitent". St. Mary was given the name 'Magdalene' because, though a Jewish girl, she lived in a Gentile town called Magdale, in northern Galilee, and her culture and manners were those of a Gentile. St. Luke records that she was a notorious sinner, and had seven devils removed from her.
She was present at Our Lords' Crucifixion, and with Joanna and Mary, the mother of James and Salome, at Jesus' empty tomb.


(@left) painting by Bernardo Luini

Fourteen years after Our Lord's death, St. Mary was put in a boat by the Jews without sails or oars - along with Sts. Lazarus and Martha, St. Maximin (who baptized her), St. Sidonius ("the man born blind"), her maid Sera, and the body of St. Anne, the mother of the Blessed Virgin. They were sent drifting out to sea and landed on the shores of Southern France, where St. Mary spent the rest of her life as a contemplative in a cave known as Sainte-Baume.

She was given the Holy Eucharist daily by angels as her only food, and died when she was 72. St. Mary was transported miraculously, just before she died, to the chapel of St. Maximin, where she received the last sacraments.

Mary Magdalene was well known as a sinner when she first saw Our Lord. She was very beautiful and very proud, but after she met Jesus, she felt great sorrow for her evil life. When Jesus went to supper at the home of a rich man named Simon, Mary came to weep at His feet. Then with her long beautiful hair, she wiped His feet dry and anointed them with expensive perfume.
Some people were surprised that Jesus let such a sinner touch Him, but Our Lord could see into Mary's heart, and He said: "Many sins are forgiven her, because she has loved very much."
Then to Mary He said kindly,
"Your faith has made you safe;
go in peace."
(left side) artist: Abraham Janssens

From then on, with the other holy women, Mary humbly served Jesus and His Apostles.
(right) Greek Icon

When Our Lord was crucified, she was there at the foot of His cross, unafraid for herself, and thinking only of His sufferings.



No wonder Jesus said of her: "She has loved much."
After Jesus' body had been placed in the tomb, Mary went to anoint it with spices early Easter Sunday morning. Not finding the Sacred Body, she began to weep, and seeing someone whom she thought was the gardener, she asked him if he knew where the Body of her beloved Master had been taken. But then the person spoke in a voice she knew so well: "Mary!" It was Jesus, risen from the dead! He had chosen to show Himself first to Mary Magdalene, the repentant sinner.
(left) fresco from Basilica of St. Francis

(below) Mary Magdalene in Penitence c1577 by El Greco




Mary Magdalene in the cave 1876 Jules Joseph Lefebvre









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