Archive for the ‘Easter’ Category

Looking toward Lent

March 5, 2011

The Blessing Cups: Jesus and Mary Magdalene at TeaImage: The Blessing Cups: Mary Magdalene and Jesus at Tea
© Jan Richardson

With Ash Wednesday approaching, it’s time for a little Lenten housekeeping here at The Painted Prayerbook, as has become our custom at this point in the year. As we move into the coming season, I want to let you know about a few offerings that I have available—books, artwork, and other resources that I’ve created to draw you more deeply into the coming days. So have a cup of tea and sit for a spell while I share what’s been stirring in the studio…

A LITERARY LENT: It has been wonderful to hear from folks—men as well as women—who are reading my latest book, In the Sanctuary of Women. Many of them are reading it together in groups, including some who are using it as a way to stay connected across the distance by phone or online. Whether you read it alone or with others, the book offers a space for contemplation and conversation in the company of women from around the world and across the centuries. To order, click In the Sanctuary of Women or the cover below. And I’d be delighted to you have your company over at my Sanctuary of Women blog, where I’ll be posting frequently during Lent.

Published through my small press, Garden of Hollows: Entering the Mysteries of Lent & Easter offers artwork and reflections on the sacred texts and themes of the coming season. To order, visit Wanton Gospeller Press or click the cover below.

I am delighted to share the news that my book Night Visions: Searching the Shadows of Advent and Christmas has recently come back into print. With original artwork, reflections, poetry, and prayers, Night Visions is a companion for the journey from the beginning of Advent to the Feast of the Epiphany. Readers have told me that it works well during Lent, too! To order, visit Books or click the cover.

Be sure to check out the sidebar to the right for more books and other resources that provide good company for the season.

IMAGES ONLINE: Jan Richardson Images is a website that makes all my artwork easily accessible for use in worship, education, and related settings. You’ll find lots of images for Lent and Easter as well as the rest of the year. In addition to individual downloads, we offer an annual subscription that provides unlimited access to images (within the guidelines for use) for a year.

ART PRINTS: The Art Prints pages on my main website offer a variety of prints for Lent and Easter, including the images from Garden of Hollows. You can also order prints at Jan Richardson Images (which includes all the artwork I’ve created for The Painted Prayerbook); go to any image and click “Prints & Products.”

eNEWSLETTER: I periodically send out an e-newsletter, often in connection with the liturgical year. It includes a seasonal reflection, artwork, information about current offerings and upcoming events, and whatever else strikes my creative fancy. I would be pleased to include you in my mailing list and to stay connected with you in this way. You can sign up for the list here.

GRATITUDE: Many kind thanks for visiting The Painted Prayerbook and for the companionship you provide along the path. Your comments, emails, prayers, and presence are gifts for the journey and manna on my way. Know that you are present in my prayers. I wish you a blessed Lent.

In Which We Begin Again: Ascension & Pentecost

May 11, 2010

Marrying, moving, making a home with my sweetheart: these days are full of new beginnings. As I move through the changes and transitions that this season offers, I am mindful, too, that the Christian calendar is telling us much the same thing: this is a time that beckons us to start anew.

We are approaching the end of the Easter season. This week gives us the Feast of the Ascension (which falls on May 13; many churches will celebrate it on the 16th), and next week we will celebrate Pentecost. For the followers of Jesus, these two events—Jesus’ physical departure from earth and the descent of the Holy Spirit at the festival of Pentecost—were pivotal ones in the life of their community. These events called them to wrestle with questions they had not had to face during Jesus’ life. How would they follow Jesus when he was no longer physically present? What did it mean to become the body of Christ in this world? Enlivened by the Spirit, what new beginning were they being called to make?

As for the early followers of Jesus, and for all those who have sought Christ across the ages, the feasts of the Ascension and Pentecost beckon us to consider how God continually invites and inspirits us to begin again. These days challenge us to discern and imagine anew the life to which God calls us, both individually and in community. As we move through the coming days, what new beginning—large or seemingly small—might God be drawing you toward? What do you need in order to cross this threshold? Who could help?

Things may continue to be a bit sporadic here at The Painted Prayerbook as I cross this new threshold, settle in, and gear up for the travels and projects scheduled for this summer, but I look forward to easing back into the swing of things in cyberspace and being in conversation with you here. In the meantime, I invite you to stop by my earlier reflections for the feasts of the Ascension and Pentecost. Clicking the images or the reflection titles below them will take you to the posts.

Peace to you as we celebrate these festive days, and a blessing upon your beginnings!

Ascension/Easter 7: A Blessing at Bethany

Pentecost: Fire and Breath

New Website!

April 27, 2009

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After months of gestation, I am delighted to share the news that I’ve launched a new website today. Jan Richardson Images enables churches and other communities to download high-resolution files of my artwork for use in worship, education, and other settings. I am thrilled about the opportunity to share mutual creative support with congregations and other organizations in this way.

The images on this new site are available for $15 per image (for one-time use), or, with an annual subscription, you can have unlimited access to the images for a year (within the Guidelines for Use).

By way of thanks for your support of The Painted Prayerbook, I want to let you know that for a limited time, I’m offering a special sneak preview price for an annual subscription. Through May 31, you can subscribe to Jan Richardson Images for $100. (After May 31, an annual subscription will be $165.)

I want to make my work available to a variety of congregations and other groups, regardless of size, so if you’re connected with an organization that would like a subscription but would have difficulty with the discounted price, please drop me a line at jan(AT)janrichardsonimages(DOT)com, and I’ll be happy to work with you.

I would be pleased and grateful for you to share this news with anyone who might be able to make use of this new website and the sneak preview rate.

On another note, I want to let you know that I’ll be taking a wee bit of a break from offering my weekly lectionary art and reflections. I am leaning hard on a deadline to finish a new book this summer (due to be published in Fall 2010), and after months of trying to do both the book and the blog (and the new website and…) at the same time, I’ve realized that if I have any hope of making the deadline (and keeping body and soul in one piece), I need a blog sabbatical. (A blogabattical?)

Please don’t go far! I do plan to continue to post here while I work on the book—just not the weekly lectionary-art-and-writing that I love to do but that consumes so much energy. As I work to complete the book, it would be a great gift to continue to have your presence here, which provides so much sustenance on my path. And I would be deeply grateful for your prayers along the way. I look forward to returning to our regularly scheduled programming by late summer/early fall.

In the meantime, I welcome you to have a browse around Jan Richardson Images. Though I won’t be creating new lectionary art for a while, the cool thing about art, especially abstract art, is that it invites a multiplicity of interpretations. My hope is that in the months to come, you’ll find images on this new website that will grace your worship or other settings, even if the images weren’t designed for the specific scripture or theme that you’re pondering.

I also invite you to stay in touch by signing up for my e-newsletter, if you haven’t already. I send it out every month or two, usually in connection with the liturgical year. Click e-newsletter signup to receive this. And I’d be delighted for you to visit my other website at janrichardson.com, where I always have books, art prints, and greeting cards available, along with other info about my ministry through The Wellspring Studio, LLC.

Thanks so much for your support of The Painted Prayerbook and of me. I wish you many blessings in these Easter days!

*P.S. If you’re looking for a reflection on the gospel lection for this Sunday, I invite you to visit Easter 4: In Which We Do Some Sheep Wrestling. Written as a reflection on John 10.1-10 (last year’s Easter 4), it explores the sheep-and-shepherd imagery that continues into this Sunday’s gospel lection, John 10.11-18.

Easter 2: The Secret Room

April 13, 2009

blog-thesecretroomImage: The Secret Room © Jan Richardson

Reading from the Gospels, Easter 2: John 20.19-31

In his book The Art of Pilgrimage, Phil Cousineau writes that in every pilgrimage, there is a secret room, a place along the path that gives us insight into the deep mystery of our journey. In describing this hidden room, Cousineau draws on a story that poet Donald Hall tells of friends who purchased an old farmhouse. Cousineau writes,

It was a ‘warren of small rooms,’ and once they settled in and began to furnish their new home they realized that the lay of the house made little sense. ‘Peeling off some wallpaper, they found a door that they pried open to reveal a tiny room, sealed off and hidden, goodness knows why: They found no corpses nor stolen goods.’ For Hall, the mystery of poetry to evoke powerful feelings finds its analogy here, in its ability to be sealed away from explanation, this is the place where ‘the unsayable gathers.’

And so it is on the pilgrim’s path. Everywhere you go, there is a secret room. To discover it, you must knock on walls, as the detective does in mystery houses, and listen for the echo that portends the secret passage. You must pull books off shelves to see if the library shelf swings open to reveal the hidden room.

I’ll say it again: Everywhere has a secret room. You must find your own, in a small chapel, a tiny cafe, a quiet park, the home of a new friend, the pew where the morning light strikes the rose window just so.

As a pilgrim you must find it or you will never understand the hidden reasons why you really left home.

It is the day after Easter Sunday. I savored sleeping in this morning and am now in my writer’s nook at the top of the stairs, gazing out the window as I ponder the season past. I think of the pilgrimage these forty Lenten days led me on, the twists and turns they offered, the questions and challenges they posed, the graces they beckoned me to see.

Where was the secret room?

I think of a day in the week just past, when I went with my sweetheart to the Morse Museum of American Art in Winter Park, not far from where I live. The primary draw of the Morse is its collection of works by Louis Comfort Tiffany, the artist famed for his stained glass designs. I have always liked Tiffany well enough—a poster of one of his windows accompanied me through a succession of dorm rooms and apartments in college—but in more recent years found I had a somewhat limited affinity for this kind of work. I thought it was pretty, in an ornamental fashion, but didn’t go much beyond that.

I had, however, changed as an artist since the last time I had walked through the museum’s doors, had begun to work in ways that—I came to realize—altered the way that I saw Tiffany’s work. And so I found myself in front of one of his windows last week, leaning in close, pulling back, leaning in again. I was stunned by his line work, the loose style so markedly different from the stained glass designs of previous centuries. His lines captivated the part of me that had begun to work in charcoal since I’d last been to the museum, and had become fascinated with how the lay of a line—how it turns this way, then that—can convey a whole world.

And, between the lines, was the remarkable glass, so distinctive of Tiffany, who radicalized the manufacture of stained glass and turned each fragment into an art form in itself. I spent a long moment at a table that offered pieces of Tiffany glass to touch. Every piece a different texture—smooth, coarse, rippled, ridged. A fragment that so looked like flame that its coolness seemed incongruous. I ran my hand over each piece, each a living link with its maker, each an embodiment of his vision and daring, each a window onto the mysterious crucible that gives rise to art, each a threshold beckoning me deeper into my own creative path and reminding me why I set out on it in the first place.

This week’s gospel lection offers us a secret room, and, with it, an invitation to touch, to cross more deeply into Jesus’ story and our own. John tells of a room in which the disciples gather—a locked room, for fear. For secrets. And there, in their midst, Jesus appears, offering his hands and side, offering peace, offering the Holy Spirit, breathing into them (“and God breathed into his nostrils the breath of life,” John means for us to remember). But Thomas is gone, John tells us, and will not believe unless he sees. So Jesus returns a week later, slides through the shut doors of the secret room, shows himself to Thomas. “Put your finger here and see my hands,” Jesus says, as if touching and seeing are one and the same. “Reach out your hand and put it in my side. Do not doubt but believe.”

History has labeled this disciple Doubting Thomas, as if his uncertainty were the most memorable thing about this follower of Jesus who, elsewhere, is the first to step up and say he is willing to die with him (John 11.1-16). Yet Jesus, as is his way, gives Thomas what he needs. In Jesus’ hands, in Jesus’ side, Thomas reaches into a secret room, a place that, though “sealed away from explanation,” as Cousineau writes, makes some kind of sense of the long pilgrimage that Thomas has undertaken with Jesus, to whom he is now able to say, “My Lord and my God!”

And you? Did the pilgrimage through Lent offer you a secret room? Somewhere along the way, did you find a place that offered, not an explanation of your path, but a window onto it, a space within it that enabled you to see it anew, and the one who called you there? Where was it, and what did you find there? How does it illuminate the way before you?

In the weeks to come, may we remember that Easter is not just a day but rather a season. May the gift and challenge of resurrection go with you, and may the path ahead be graced with secret rooms.

[To use the image “Secret Room,” please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Crossing into Holy Week

April 5, 2009

Reduce, reuse, recycle, so the saying goes. I’m taking the slogan to heart as we prepare to head into Holy Week. Having expended vast quantities of energy in this Lenten season, I’m going to seek some much-needed Sabbath during the coming week. Toward that end, I’m reaching back to the art and reflections that I offered during Holy Week last year. Call it my personal plan to avert an energy crisis.

Clicking the titles below will take you to the recycled reflections for Holy Week. May you find some some sustenance there.

Know that I’m holding you in prayer as we enter the mysteries of the coming days. Blessings to you!

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Holy Thursday: Feet and Food

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Good Friday: In Which We Get Nailed

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Holy Saturday: A Day Between

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Easter Day: Out of the Garden

If you would like to make use of this artwork, or any of the images on my blog or website, please visit Copyright Permissions. Thanks!

Mysteries of the Magdalene

April 5, 2009

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Here on the threshold of Holy Week, I’ve had Mary Magdalene on my mind. Scripturally speaking, what we know of her story comes almost entirely from the gospel accounts of the final days of Jesus, where the Magdalene emerges as a faithful disciple who journeys with Jesus from the cross to the empty tomb. She is the first to proclaim the news of Christ’s resurrection.

As if the scriptural accounts of her story weren’t intriguing enough, an imaginative web of legends gathered around the Magdalene in the centuries that followed. Short on fact but long on fascination, many of them tell of a woman of power and courage whose life was marked by devotion and mystery.

The legends gave rise to some wondrous medieval art, which in turn inspired my series The Hours of Mary Magdalene a few years ago. I’ve just finished a new print that brings together all eight images in the series, and I’d love to share it with you. It’s available on my website, where you can find it on the main page at janrichardson.com. You can also go straight to the Color Prints page, where prints of the individual pieces are available as well. Purchasing prints—or anything else on my website—goes directly toward supporting my ministry through The Wellspring Studio, LLC, and I am grateful beyond measure for your sustenance in this way!

Peace to you.

Ascension/Easter 7: A Blessing at Bethany

April 30, 2008


Ascension © Jan L. Richardson

Reading from the Gospels, Ascension Day: Luke 24.44-53

These days I’m at work on a new book that’s something of a sequel to the first book I wrote (if you don’t count the book about animals that I wrote and illustrated when I was about eight, in which my drawing of a horse looks very much like my drawing of a dog). Working on this sequel has set me to thinking about who I was when I was writing the first book. I began that book, Sacred Journeys, during my final year in seminary, stayed in Atlanta an extra year to work on it, and finally completed it a year and a half after moving back to Florida to take my first pastoral appointment.

The span of time I spent on that first book included one of the happiest years of my life—my final year in Atlanta—and one of the most difficult years of my life—my first year in Orlando. In Atlanta I had an amazing community. Based largely within the seminary I attended, these friends nourished and stretched and sustained me. They were part of my daily rhythm of life. They mediated the presence of Christ to me.

Leaving the community I had found in Atlanta was a source of deep grief. I knew no one when I moved to Orlando. Though I was clear this was where I needed to be, this clarity provided an incomplete comfort. I remember trying to figure out how to appear competent as a pastor and carry grief at the same time. During that first year, I received an anonymous letter (and if you’re a pastor, you know how much we love getting those letters from people who feel strongly enough to write but not strongly enough to put their name to it) from someone who suggested both that I share more about myself in my sermons and also that I use more humor. “Honey,” I thought at that point in my journey, “it’s one or the other.”

The sorrow ran its course. Time and focused work did their usual healing, and I found a new community in Orlando. Different from the one I had in Atlanta, but nourishing, creative, and amazing in its own ways: a community that reminds me of the infinite forms that the body of Christ can take in this world.

In the midst of remembering the loss of community, and the finding of one, I’ve been pondering the gospel lection for Ascension Day. Having lingered for forty days (a good biblical number) following his resurrection, during which he engaged in such acts as eating and wound-showing to demonstrate that he wasn’t a ghost, Jesus prepares to take his final leave of those who have been his companions on his earthly path. He shares his final words with them—crucial words, words of call and of promise. And then, Luke tells us, Jesus leads them “as far as Bethany,” where he will depart from them.

I am struck by Luke’s mention of Bethany as the site of Jesus’ ascension. The gospels mention Bethany a number of times. It is a place to which Jesus withdraws on more than one occasion, and we know the town most memorably as the home of Mary, Martha, and Lazarus, who are particular friends of Jesus. As the site of the raising of Lazarus and two accounts of Jesus’ receiving the gift of a woman’s anointing, Bethany stands as a place of healing, restoration of life, hospitality, and friendship. Likewise, at Bethany the fullness of Jesus’ divinity and his humanity come into sharp focus: in his raising of Lazarus, Jesus had displayed his power over death, and in his friendship with Mary, Martha, and Lazarus, he revealed himself as someone who took solace and delight in their human company.

For Jesus’ companions who witness his ascension, Bethany conjures memories that Jesus means for them to draw upon as they begin to live without him. Bethany was a place where hospitality, friendship, and the miraculous intertwined in the community around Jesus. The fact that he chooses it as his place of departure suggests that he intends for them to remember that these gifts will remain with them—and not only these gifts, but also his own spirit.

In depicting Jesus’ ascension, medieval artists often painted Jesus with only his feet showing (one can almost see his toes wiggling), just barely visible as he departs, as in the St Albans Psalter or this thirteenth-century German Psalter. They wanted to emphasize his bodily departure from the earth. Yet, as Gail Ramshaw points out in Treasures Old and New, such a depiction does not suggest that “Christ has gone away from the church. The church fathers,” she goes on to write, “taught just the opposite: that as Christ went to God, his body became available to all the church.” And not only available to the church, but also enfleshed within it and by it, a point these same medieval artists emphasize by their attention to those who remain as Jesus leaves. Though Jesus’ departure poses the risk of profound disruption among his followers, his ascension becomes an opportunity for the community not merely to reorganize and refashion itself but to become the very body of Christ in the world.

Luke writes that it is as Jesus is blessing the disciples that he begins to leave them. He does not raise his voice in a lamentation over his departure, he does not offer any further words of wisdom and instruction, he does not fling last-minute advice their way. He blesses them. Where the disciples might have been justly distraught, Luke tells us that instead they worshiped Jesus “and returned to Jerusalem with great joy; and they were continually in the temple blessing God.” Jesus’ disciples recognize that his leaving is part of his blessing. Having called them into relationship with him and one another, having lived and journeyed with them, he frees them to live into their ongoing call. They, in turn, respond to Jesus’ blessing by offering blessings of their own, in the temple and beyond. They respond to his blessing by becoming his body.

We may grieve—and rightly so—the changes and leave-takings that come with being in community. This relationship stuff is risky business. Yet Jesus’ ascension reminds us there is something deeper at work in such times, something that not only carries us through the changes but also uses them to transform us and to bless the body of Christ. In the midst of every loss and change, the presence of Christ persists, shaping his community anew and calling us to blessing and joy.

Where have you found a blessing in the midst of loss? How have you experienced—and offered—the body of Christ among the changes in your life? Having received the blessing of Christ, how do you offer a blessing in return?

May you journey, along with those first disciples, with great joy and blessing.

[To use this artwork, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Easter 6: Side Orders

April 23, 2008


You in Me in You © Jan L. Richardson

On a day when I was dealing with a vexatious situation, I spent some time talking about it with my sweetheart. Gary is a great thinking partner, adept at asking questions and offering insights (in a non-advicey kind of fashion) that help me find a path through the muddle at hand, whether it’s a tangle of words in something I’m writing, a stuck place I’ve gotten to in a piece of artwork, or the challenges that come up in having a ministry that doesn’t fit a specific mold. I don’t remember precisely what was vexing me on this particular day—I have some recollection I was struggling with an institutional system, which means it was probably either the church or the publishing industry—but I do remember some words that Gary offered as we finished our conversation. “The thing to remember here, Jan,” he said, “is that I am on your side.”

Having somebody on our side, somebody whose sidefulness doesn’t require that we always agree with them or bend ourselves to their agenda, is a remarkable gift. My experience of this with my sweetheart provides something of a glimpse into what Jesus is offering to his disciples in this Sunday’s Gospel lection, John 14.15-21. Jesus’ words in this passage immediately follow our Gospel lection from last week. He and the disciples are still at the table, lingering as Jesus speaks the crucial words he feels pressed to offer his friends before he is taken from them. We see again the depth of Jesus’ desire for them to understand how he means for them to abide with him after he is gone. In this passage he tells them that he “will ask the Father, and he will give you another Advocate, to be with you forever. This,” he continues, “is the Spirit of truth….”

In his commentary on John’s Gospel, D. Moody Smith notes that parakletos, the Greek word commonly translated as Advocate (the New Revised Standard Version offers “Helper” as an alternative), “means literally one called to the side of, an advocate or an attorney.” As Smith suggests, however, the context of this passage indicates that this parakletos—often called the Paraclete in English—“does not function so much to advocate the disciples’ cause before God as to mediate the presence of Jesus to the disciples.” This Paraclete will do more than help out the disciples in the wake of Jesus’ death; the Paraclete will sustain and make possible their ongoing relationship with him.

Jesus tells them that they will know this Advocate because “he abides with you, and he will be in you.” There it is again, that word abides—from the Greek meno, as we noted last week. Jesus is at pains to impress upon them the fact of this abiding, and how it will happen: he tells them not only that the Paraclete will be in them, but also that he will be in the Father, the disciples will be in him, and he will be in them.

That’s a whole lot of shared indwelling going on, a plethora of mutual meno-ing. It’s this kind of passage that has made John’s Gospel so appealing to mystics across the ages. With John’s intensely spiritual style, it sometimes becomes a challenge, in reading his Gospel, to keep one’s feet on the ground, or one’s head above water—pick your own metaphor, John offers a host of his own. John’s Gospel is a wonder in part for this very reason, that he drenches us with words that draw us into spiritual depths. He always means for us to see, however, the bedrock beneath it all, the response that a life in the Spirit calls us to make.

As any good mystic knows, being in relationship with Christ does not mean forever wallowing around in this mutual, mystical indwelling that takes place among God, Jesus, the Spirit, and us. Abiding with Christ is a wonder and a gift of grace, but it’s not a perpetual feel-good fest. There at the table, Jesus emphasizes that being in relationship with him, and receiving the Advocate, compels us to a concrete response in the world; in fact, we can take Jesus’ words to mean that his sending of the Advocate is contingent upon the disciples’ actions. “If you love me,” Jesus says at the outset of this passage, “keep my commandments.” He will say it again in a similar fashion at the end of the text: “They who have my commandments and keep them are those who love me; and those who love me will be loved by my Father, and I will love them and reveal myself to them.”

When it comes to Jesus giving commandments in the Gospel of John, this is what he has to say:

I give you a new commandment, that you love one another. Just as I have loved you, you also should love one another. By this everyone will know that you are my disciples, if you have love for one another. (13.34, 35)

This is my commandment, that you love one another as I have loved you. No one has greater love than this, to lay down one’s life for one’s friends. You are my friends if you do what I command you…. I am giving you these commands so that you may love one another. (15.12-14, 17)

Living with Jesus challenges us to love not only him but also those whom he sends to us. And perhaps this is the real gift and intent of the Spirit, the Helper and Advocate whom he promised to send to the disciples: that the Spirit will sustain us as we live into the love to which Christ calls us, even when, and especially when, it means abiding with those whom we’d rather build walls against.

Jesus’ words this week have me wondering who might need me to say the words that Gary offered me on that vexatious day: I am on your side. Who might need to hear those words from you?

May you know the challenging peace of the One who is on your side and who is within you.

[To use the “You in Me in You” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Easter 5: A Place to Dwell

April 18, 2008

Image: A Place to Dwell
© Jan Richardson

As I’ve shared in a couple recent posts, I’ve been doing some traveling, most recently to Connecticut, where I led a retreat for a wondrous group of women. I left for Wisdom House just twelve hours after arriving home from the funeral for my sweetheart’s mom in South Carolina, so I wasn’t exactly in the most rested state when I arrived in Connecticut. Fortunately, the retreat didn’t start until the following day, and it was a great gift to have some time to rest, settle in, and absorb the hospitality of the staff and the space at Wisdom House. So much of the space that weekend invited me to be aware of the holy: the art gallery, the chapel, the soulful space created by the women who gathered.

Sister Jo-Ann, my wonderful host at Wisdom House, took me on a tour of the Farm House that’s on the property of the retreat center. Built in the 1700s and used for smaller retreats, the Farm House enchants. With seemingly endless rooms, including tiny bedrooms that remind me of monks’ cells, and lots of inviting nooks and crannies, it’s the kind of space I could happily spend a few weeks in. Though nobody resides there full-time these days, the Farm House possesses a sense of habitation and warmth. There’s a plaque by the front door that lists the names of those who have lived there, from generation to generation. It invites those who cross the threshold, whether for a few hours or a few days, to enter it as a dwelling place, a habitation for the holy.

Nourished by the hospitality I received at Wisdom House, I’ve returned home to my sweet little studio apartment. I’ve lived here for nearly a decade, and the ongoing process of learning how to inhabit this 300 square foot space, and how to work in it as an artist and writer, is one of the most creative things I’ve ever done. Every few months or so I move a few things around in order to squeeze out a few more square inches. My latest accomplishment has involved creating a writing nook. Desperate for a space that I can devote solely to writing (an activity from which I am easily distracted), I recently looked at the landing at the top of my stairs and realized that, especially with its window that overlooks the back yard, it would make a great space to write. It doesn’t make the writing any easier (I didn’t expect it to), but it does offer greater focus, which comes as a needed gift.

I’m intrigued by spaces and by how our experience of architecture shapes our perception of it. Our sense of a physical place goes beyond the interplay of form and function; particularly as we experience a space over time, the outward, physical space can become intertwined with the interior space of our psyches and souls. The places we inhabit or regularly visit imprint themselves on our memory and imagination, coloring how we perceive and engage those spaces. Gaston Bachelard, in his famed book The Poetics of Space, observes that “A house that has been experienced in not an inert box.”

With spaces on my mind, I’ve particularly appreciated the chance to ponder this week’s Gospel lection, John 14.1-14. Sharing a table (an evocative space in itself) with his disciples shortly before his death, Jesus tells them—among many other things—that “In my Father’s house there are many dwelling places.” He uses an architectural image to help them begin to understand the kind of place that he is preparing for them, yet Jesus himself, recognizing the layers of meaning that a house can evoke, is talking about far more than architecture here. The word that Jesus uses for “house” is the Greek word oikia (related to oikos), which refers not only to the physical structure of a house but also to the family that dwells there: the household. D. Moody Smith, in his commentary on John’s Gospel, notes the relationship between the word for “dwelling places,” monai, and the verb meno, which means to remain, abide, dwell, endure.

John likes this word. We visited meno on Epiphany 2, reflecting on the story in the first chapter of John’s Gospel, in which two of John the Baptist’s disciples ask Jesus where he is staying—where he is meno-ing—and he tells them, “Come and see.” He knows they are asking more than where his physical dwelling is.

Here, at the other end of Jesus’ ministry, we find this word again. The disciples did indeed come and see—boy, howdy, what they saw—yet Jesus is still beckoning them to go deeper in the ways that they will abide with him, both now and in the future.

Jesus tells his companions about these dwelling places in order to encourage them and stir their hope. At the same time, he desires to be clear with the disciples that dwelling with him is not a far-off proposition; rather, he is calling them to live with him now and throughout their earthly lives. In John 15, which we don’t visit in the Revised Common Lectionary this year, Jesus goes on to offer the image of the vine and branches as a vivid metaphor for how he desires the disciples to abide with him and he with them. Variations of meno appear many times in John 15; Jesus really wants them to get this whole abiding thing before he goes.

In addition to the images that Jesus offers with oikia and monai, he tells the disciples (in response to Thomas’ question about how to get to these dwelling places) that he himself is the way—the hodos in Greek, which can mean a physical road or journey as well as a way of life. Jesus’ description of himself as the way has a deep resonance with other images that we have visited in the weeks of Lent and Easter. His invitation to the Baptist’s disciples to come and see, the wellspring of living water that he offers a thirsty woman, breaking bread at Emmaus, the piercing of his body in the crucifixion, his invitation to Thomas to place his hand in his very flesh: these are among the stunning images that describe how Jesus opens his very self—body and soul—to us. In reflecting on this, D. Moody Smith draws our attention to Hebrews 10.20, in which the author writes of how we can enter the sanctuary—that holy space—“by the new and living way that he opened for us through the curtain (that is, through his flesh).”

I wrote last week of Christ as the radically hospitable shepherd who not only guards the flock but lays himself down to become the gate for them. This week’s metaphor of Christ as the way further develops this image. Here at the Last Supper, Jesus speaks not only of future concerns but also of present ones, and he means for his friends to understand that the way, the journey, is itself a dwelling place. Jesus is not simply telling them about the destination he intends for them; he is calling them to make their dwelling in him now; he is urging them to make the way, and Christ’s very self, their home.

Where are you living these days? Where are you making your home? How do you make your journey, your path in life, a dwelling place?

Blessings to you in these resurrection days.

[To use the image A Place to Dwell, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]

Easter 4: In Which We Do Some Sheep Wrestling

April 11, 2008


The Sheepgate © Jan L. Richardson

This week’s gospel lection, John 10.1-10, introduces a paired set of images that Jesus plays with in intriguing ways: the shepherd and the gate.

I have to admit that of all the ways of describing Jesus, the image of him as a shepherd is one I’ve never particularly gravitated toward. I suspect this owes to a combination of factors: I live in a culture that is far removed from the agrarian setting in which Jesus employed this image, and I grew up around cows, so am not very knowledgeable in the ways of sheepdom. I suspect, however, that the real reason that I struggle with shepherd imagery is this: I am resistant to being herded. I am also all too aware of how badly things can go wrong when we are overly willing to let ourselves be led. (“Lambs to the slaughter” comes too easily to mind.)

The thing about living with the lectionary is that it confronts us with texts and images that may not sit easy with us, so John’s passage has been a good challenge for me this week. In letting the text work on me, I’ve come to appreciate how Jesus offers several points that provide crucial clarity about the sheep-and-shepherd thing.

First, Jesus does not call us to follow him in a mindless fashion. Part of my trouble with ovine imagery is that I’ve heard plenty of times that sheep are stupid, and so what does this metaphor say about us? It was illuminating to attend a workshop last year with Roberta Bondi, who was one of my professors at Candler School of Theology. In the course of the workshop, during which Roberta spun wool as she talked, she challenged this pervasive notion about sheepish intelligence. It’s not that they’re stupid, she told us; they are prey animals, not predators, and so their instincts strike us as counterintuitive or just plain dumb, because they don’t think as we do. Gail Ramshaw, in her wondrous lectionary resource Treasures Old and New, adds another layer of insight, observing that “At the most ancient level of biblical storytelling, sheep are highly respected, for without their life, communal survival would not be possible. Contemporary interpretation of the Bible’s sheep stories,” she goes on to write, “needs to balance its characteristic talk about how stupid sheep are with the economic reality that sheep were the primary life source for the people, God’s gift of sustenance for the people.” Christ likens us to sheep not because he expects us to be vapid, but because he counts us as valued.

Second, Jesus calls us to follow him in the context of relationship. He wants us to know him. “He [the shepherd] calls his own sheep by name and leads them out,” Jesus says in this passage; “…the sheep follow him because they know his voice.” Jesus’ call is grounded in his desire for a relationship with us, to know us and to be known by us. He expects us to engage in discernment, to ask questions, to be wise in the ways that we follow him. It’s important to note that this passage follows on the heels of his healing of the blind man in John 9, which we visited on Lent 4; this week’s gospel lection is a continuation of Jesus’ teaching about how he desires us to see.

A third point of clarity that Jesus offers in this passage is that we are not to follow him just because he says so, or because hellfire and damnation await us if we don’t. The presence of the shepherd is never threatening; rather, it is precisely the opposite. The shepherd is the one who extends radical hospitality to the sheep; he protects them against whatever would threaten them, even, as Jesus states repeatedly later in this chapter, laying down his own life for them. Ramshaw points out that “herders in that part of the world lay their own bodies down for a night’s rest in the gap of the fence, the body of the shepherd thus serving as the gate.” Indeed, Jesus describes himself in this passage not only as the gatekeeper of the sheepfold but as the gate itself.

Jesus’ image of himself as a gate underscores the fact that his way is one of hospitality, not of threat. The gate—the one that Christ opens to us, the one that Christ himself is—does not open by way of force. Rather, this entry becomes compelling because of the one who offers it, who opens it to us as a way of blessing. “I came that they may have life,” Jesus proclaims in the final verse of this text, “and have it abundantly.”

Jesus means for us to have this abundant life not solely in some future world but also in this present world. He intends, too, for us to have this life together. Christ calls us to fields where following him means tending to one another—to our sheepmates. In the midst of my resistance to being herded, I have to take care not to forget that there are good reasons to travel in flocks. Ramshaw offers a good reminder here—and if I keep turning to her this week, it’s partly because I’ve just recently found her treasure of a book, but mostly because she’s been particularly helpful to me in thinking sheepishly; she writes, “Shepherding stresses the communal nature of the sheep. Our singular noun flock is one made of many. The church proclaims the good news that I am not alone. We are the flock, and we share a common life.”

As you navigate this shared life, what, or who, is determining the direction of your path these days? Which has more influence over the shape of your path—your reactions, or your intentions? How are you experiencing the hospitality of Christ? How might he be challenging you to know and hear him in this season? What gate might he be beckoning you toward?

[To use the “Sheepgate” image, please visit this page at janrichardsonimages.com. Your use of janrichardsonimages.com helps make the ministry of The Painted Prayerbook possible. Thank you!]