|Pen and Ink Reflections||
One of the puzzles Christians have sometimes set themselves is to work out what light is being referred to in the first few verses of the Bible. For, apart from modern light forms, we are so used to thinking of light from the sun and moon, which, in the Genesis account, are only created later. Various possibilities have therefore been suggested by the great theologians. Some (such as Ephrem of Syria) have thus suggested the light was a pillar of fire, or (like Basil of Caesarea) that the essence of the sun without its actual substance, or even that the light came for the angels (in the case of Augustine of Hippo). However, in so far as we might respond, I think I would go with the Orthodox Church’s understanding of ‘the uncreated light’ of God in Godself. For, when we come to the first chapter of Genesis. we are speaking here of divine mystery, depth, purpose and ultimate meaning, not literal or even limited symbolic explanation of Creation. Rather, like our second reading today (For Light by John O’Donohue), the nature of Genesis chapter 1 is poetic and prayerful, seeking to lead us into sacredness. For above all, such texts are designed to renew our sense of wonder and participation in divine creation and our role as priests of God’s Creation…
Today’s Gospel lectionary reading (Mark 4.20-34) invites us into Jesus’ way of communicating, which is not just about speech, even accompanied by silence and action. It is a way of being, a way of living: a way of living as parables, a way of being as artists…
by Jon Inkpin, for Pentecost 7A, Sunday 27 July 2014 (St.Luke, Toowoomba)
There is a great little art exhibition at the moment: in the Crows Nest Art Gallery. If you haven’t seen it, I encourage you to do so before it ends (on 3 August). The exhibition is by two talented local young artists, one of whom is our own Katherine Appleby. Katherine’s subject for this exhibition centres on fairytales and she has created some wonderful works, not least a powerful piece called ‘Fear’. In this, we see what appears to be a young girl walking into the midst of a dark forest, where wolves and wolf-like heads, eyes and mouths glisten in the darkness. Even the trees are dark and bare, devoid of foliage, symbolising the darkness and threat of fear itself. Isn’t that a powerful picture of how fear can feel to us? Look again though, and perhaps you may see other things. What, for instance, is the really fearful thing in the painting? Is it the dark woods? Is it the closure of the path and of the light? Is it the wolves? Or is it the girl herself? Is she, so central to the picture, actually the true source and figure of fear? Why, for instance, is she walking into the forest, into the darkness away from the light? She stands very self-possessed. So is she afraid of the woods and the wolves? Or are they afraid of her? The painting you see, like any fine work of art, reveals more as we look at it. It asks us not one but many questions, some of them surprising. It is an invitation to mystery, rather than a mere description or proclamation of the straightforward. Indeed, if you look very closely at Katherine’s painting of ‘Fear’ you will see that the girl’s face is also partly an old and partly a young face. As such, it expresses the awesome ambiguity of life, truth and our human condition. Which way of looking, being and living will we choose?
Religion at its best is in many ways akin to art at its best, especially in its capacity to invite us into the awesome ambiguities of life. It is an invitation to mystery, not a mere description or safeguard of the straightforward. It is a means, like great art, by which we can hold our fear and our suffering and not be overwhelmed. It is a path on which we can walk with courage, through the darkness around and within us, through the grace of God, into the light and love of God...
for Easter Day, 20 April 2014 by Jonathan Inkpin
How do you see the Resurrection? What we celebrate on Easter Sunday is a ‘mystery’, in the best sense of that word. It is deep truth and reality. So, like any deep truth and reality, it is therefore beyond our ordinary human understanding. Rather it is an invitation into a greater, divine, understanding. So will we be like good detectives and follow the clues to discover a little more of the meaning of this mystery? Will we, like our Gospel writers, own and share this mystery in our own words and actions? Will we, like great artists, allow God to enable us to picture the Resurrection for ourselves and others?...