|Pen and Ink Reflections||
How do we picture transfiguration? Do you like the transfiguration mandala of Jack Haas for example? It is better than many as a prompt for reflection today. For the story, symbol, and spirituality of Christian transfiguration is rich and profound. Yet it can be a puzzle and portrayed in very limited dimensions, and can then seem quite distant to some of us. Let me therefore offer four pathways into the reality and meaning of Christ’s Transfiguration: four pathways on the model of the spirituality wheel of which Penny Jones spoke to us a few months ago, and to our Ministers Retreat this week. For transfiguration, as Jack Haas suggests, is like a biblical mandala, of enriching colour and creativity for our lives: a kaleidoscope revealing divine transforming love…
Transfiguration as an icon
It is said that the poet Alfred Tennyson was walking one day in a beautiful garden where many flowers were blooming. Someone stopped him and asked: ‘Mr. Tennyson, you speak so often of Jesus. Will you tell me what Christ really means to you?’ Tennyson thought for a moment, and then, pointing down to a beautiful flower, he said: ‘what the sun is to that flower, Jesus Christ is to my soul.’ That, my friends, is at the heart of the feast of Transfiguration...
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...
sermons and reflections from Penny Jones & Josephine Inkpin, a married Anglican clergy couple serving with the Uniting Church in Sydney