Archive for the ‘Lent’ Category

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.

Palm Sunday: The Temple by Night

March 29, 2009

 Image: The Temple by Night © Jan Richardson

Reading from the Gospels, Palm Sunday: Mark 11.1-11

After sending for the colt.
After the procession.
After the palms.
After the cloak-strewn road.
After the hosannas.
After blessed is he who comes
in the name of the Lord.

After all this, Mark—alone of all the gospels—tells us that Jesus goes into the temple and looks around at everything.

He does not teach. He does not preach. He does not heal. He does not confront or challenge. He does not even speak; neither does he cross the path of anyone who requires his attention. Mark conveys the impression that here, in this sacred space that lies at the heart of his people, Jesus is quite alone, and that it is night.

Jesus simply looks around. What is it that he sees in the temple by night?

The gospels vary in their account of Jesus’ relationship with the temple, and how much time he has spent there. Taking together their accounts, we know Mary and Joseph took him there as an infant for the rituals that occurred forty days after a birth. He made the journey to the temple every year with his family for Passover, most memorably at the age of twelve, when his parents, missing him on the way home, went back and discovered him in conversation with the teachers. Matthew tells us that the devil took Jesus to the pinnacle of the temple, urging him to jump, that angels would catch him. John in particular emphasizes Jesus’ presence at the temple earlier in his ministry, where the temple features in such stories as Jesus’ encounter with a woman caught in adultery. It is at the temple, according to John, that Jesus proclaims himself as the river of life and as the light of the world, beginning to take into his own self, as Richard Hays has pointed out, the purpose of the temple as the focal point of the liturgy and life of the people of Israel.

This is the place that holds the memories of Jesus and the collective memory of his people. And it is to this place that Jesus returns, after the palms, after the procession, after the shouts of proclamation have vanished into the air. He will come back tomorrow, Mark tells us, and he will turn over the tables and drive out the buyers and sellers and castigate the people for turning this house of prayer into a robbers’ den. He will return yet again over the next few days to teach, to provoke, to watch a widow drop two precious coins into the offering box. And soon he will die.

But for now, for tonight, in this holy place at the heart of his people, Jesus merely looks. He peers into this sacred space that is inhabited and haunted by his own story. And perhaps it is this story he sees again this night. Perhaps he sees Mary and Joseph coming out of the shadows, carrying their infant son. Perhaps he sees Simeon gathering his young self into his arms, singing about salvation and a light for revelation, joined by the old prophet Anna, who raises her voice in praise. Perhaps Jesus sees again the twelve-year-old who conversed with the temple teachers, and the tempter who tried to lure him to fling himself from the pinnacle of this place. Perhaps a woman, once trapped and terrified, stands before him again, this time with the light of forgiveness and healing shining through her eyes.

And perhaps in this place, where Jesus is alone-but-not-alone, they gather about him, reminding him why he has come, calling him to remember, offering their blessing for the days ahead. Perhaps in this space, after the palms and before the passion, Jesus is able simply to rest. To remember. To breathe. To be between.

And you? What are you between? Where is the space that invites you to be alone but not alone, to allow the memories to gather and bless you, to offer strength for the days ahead? What is the place that beckons you to breathe, to rest, to look? What is it that you see in that space? What stirs in the shadows?

Blessings to you in the spaces between.

Resources for the Season: Looking toward Lent

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

Lent 5: Into the Seed

March 24, 2009

Image: Into the Seed © Jan Richardson

Reading from the Gospels, Lent 5, Year B: John 12.20-33

So do you remember that kerfuffle back in the 90s when Mattel brought out a new Barbie doll called Teen Speak Barbie? The Barbies were programmed to say what the company considered typical adolescent girl phrases. Some of the dolls were heard to utter, “Math class is tough!” A protest ensued, and Mattel excised that phrase. The story still circulates, with the troublesome phrase often (mis)quoted as “Math is hard!”

At this point in the Lenten journey, I find myself getting in touch with my Inner Barbie. Call her Ecclesiastical Barbie, perhaps, or Exegetical Barbie. (Ooooh, can’t you see her now, complete with the Barbie Dream Church and Deacon Ken?) These days, when someone pulls the string on my Inner Barbie, she’s likely to say, “Lent is tough!” or “These lections are hard!”

The scripture passages that this season presents to us are intense, dense, and complex. They are laden with metaphor and meaning, swirl with constellations of symbols and images, and shimmer with vivid emotion and crucial teaching. These texts challenge us to look with honesty at our lives, they confront us with our attachments, and—in a phrase I recently encountered—they urge us to sit with our own mirrors.

Lent is not for sissies.

In these past few weeks, we have traveled with Jesus into the wilderness, listened to his challenge to discern between the things of heaven and the things of earth, witnessed his outraged and outrageous cleansing of the temple, and overheard him liken himself to the serpent that Moses raised in the wilderness. Now he comes along, in this week’s gospel reading, speaking of grain and dying, losing one’s life and keeping it, hating and loving. We hear a thundering voice from heaven speaking of glory, and Jesus talking of being raised up from the earth.

The import of these Lenten texts is all the more intense for the surety of Jesus’ violent death that looms ahead. As we walk with Jesus through these weeks, we know what we are walking toward. And so his words carry extra weight, and we bend closer to capture them, as we do with someone we know is not long for this world—but who is already beginning to see things we cannot see, and speaking a language we do not yet understand.

Unlike others loosing the tethers that have held them to this life, however, Jesus retains a passionate interest in this world. Despite any impression he may give to the contrary (“those who hate their life in this world will keep it,” he says this week), Jesus does not perceive this world, this life, merely as a prelude to heaven or as a stockyard for weeding out the blessed from the damned. He seeks, rather, to train our eyes to perceive the kingdom of heaven tucked into the midst of this very world.

Teaching us to see the kingdom requires symbol, myth, metaphor, story. It requires the visual poetry that Jesus repeatedly uses as he turns to the things of earth to describe the things of heaven: yeast, seeds, dirt, water, fish, lilies of the field, birds of the air. Again and again he employs the ephemeral as he seeks to explain what is eternal. His doing so both comforts and unsettles; taking what is familiar to us, he turns it on its head, and us as well. How will we ever come to understand such a language?

We may feel daunted at this point in the season. I do. So suffused with meaning and messages, not to mention impending murder, these passages can overwhelm with their density and intensity and with their challenge to us to hold their paradoxes and untangle their meanings. Their lines somehow intertwine with the stuff of my days, drawing me deeper into the questions they pose about what my life is really about. There is so much to discern, to sort through, to sift.

In the midst of feeling daunted, I find myself thinking of the mystic poet who asked, “What is the cure for love? More love.” The formula holds true elsewhere. The cure for mystery? More mystery. The cure for paradox? More paradox. Last week’s readings from Numbers and the gospel of John reminded us that the cure for snakebite lay in looking upon a serpent. And in such a way this season beckons us to consider that we find our cure not by shrinking from what besets and befuddles and daunts us but by looking deeper into those very places, and finding the treasure that God has placed within them.

Go into the things you shrink from, Jesus tells his hearers—and us—in this passage. Go into the questions, the mysteries, the paradoxes, the seeming contradictions. Go into the Lenten dying that is not dying after all. We work so very hard at letting go, sometimes, trying to train ourselves to release our grip on all that is not God. But what if it is not about giving up but giving in? Falling into dirt, as Jesus says here. Going where grain is supposed to go. Following the spiral within the seed that takes us deeper into the dark but also—finally, fruitfully—out of it.

The lectionary interrupts this passage before its end; Jesus’ conversation with the crowd actually extends to verse 36. After Jesus finishes his discourse, here’s what John tells us Jesus did: he hid from them. And perhaps that’s what Jesus means for us to do at this point on the Lenten path: to hide. To not be set on figuring everything out but rather to let at least some part of ourselves, for some space of time, withdraw. To cease from wrestling with the questions and mysteries and simply rest with them and give in to them. To secret our souls like a seed in the earth. To see what grows.

How is it with your soul at this point on the Lenten path? As you work with these texts, how are these texts working on you? What questions have they stirred for you in these days? How do you respond to the mysteries and paradoxes they hold? Can you rest with those questions and mysteries? What do you need?

May you fall into, rest into, a place that will tend and nourish you in these days. Blessings.

Resources for the Season: Looking toward Lent

P.S. Happy Eve of the Feast of the Annunciation! Falling on March 25, this feast celebrates the radical yes that Mary said to Gabriel when the angel beckoned her to become the mother of Christ. For some of my artwork and reflections on the Annunciation, visit Getting the Message and The Hour of Matins: Annunciation.

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

Lent 4: The Serpent in the Text

March 15, 2009

Image: The Serpent in the Text © Jan Richardson

Reading from the Gospels, Lent 4, Year B: John 3.14-21

One evening a bunch of years ago, I found myself in a New Zealand coffeehouse with some friends I was traveling with. We were there with a friend whose presence in New Zealand had occasioned our trip, plus that friend’s flatmates. It was a wonderfully funky coffeehouse, and as we settled into the couches and chairs with cups in hand, I commented, “Hey, it’s just like Friends!” One of my companions commented that she’d recently read that one of the indicators of contemporary culture was the rising frequency with which we compared our lives to television shows. And this was the 90’s; so-called reality TV, with its further blurring between life onscreen and off, had barely made its appearance.

The comment didn’t cause me to stop watching Friends, but it did set me to noticing the referents I use when I tell something of my life, or hear others use in telling about theirs. Ever since that New Zealand coffeehouse evening, I’ve found myself watchful of what we hook our stories onto, and how we locate ourselves within our cultural landscape.

So I could hardly get past the way that Jesus does this from the opening sentence of the gospel lection for next Sunday. The passage begins in the midst of Jesus’ nighttime conversation with Nicodemus. “And just as Moses lifted up the serpent in the wilderness,” Jesus says to Nicodemus, “so must the Son of Man be lifted up, that whoever believes in him might have eternal life.”

Jesus, like a serpent in the wilderness? Hunh?

That’s quite the referent that Jesus inserts into their chat, a potent image that he brings into a conversation already drenched with symbolism and metaphor. Jesus and Nicodemus have been talking, after all, about being born again, with its attendant imagery of birthing, water, womb, spirit, and wind.

Being a good Pharisee, however, Nicodemus would have known the snaky reference. It comes from Numbers 21.4-9, which serves as the lection from the Hebrew Scriptures for Sunday. Frankly, it’s a right bizarre tale, and steeped in a few layers of magical lore. In it, we find the people of Israel in the wilderness. They have been delivered from their captivity. And they are complaining. “Why have you brought us up out of Egypt,” they cry to Moses, “to die in the wilderness? For there is no food and no water, and we detest this miserable food.”

On a similar occasion in the book of Exodus, God hears the complaints of the people and rains down manna upon them.

This time, God sends fiery serpents. Or, depending on the translation of the Hebrew word seraphim, God sends poisonous serpents. Or winged serpents.

Whatever they are, they aren’t good.

And the serpents bite the people.

And many of the people die.

And the people are very, very sorry.

They come to Moses, full of remorse for being grumbly, and they beg him to pray to God to take the serpents away. Moses prays. In a curious move, God does not take the serpents away. Instead God sends a strange remedy. God tells Moses to make a fiery serpent—or a poisonous serpent, or a winged serpent; whatever it is, Moses makes one out of bronze. As God has told Moses, whenever a serpent bit someone, that person could look at the bronze serpent and live.

Did I mention it’s a strange tale? It’s a little tempting to wade a bit further into the mythological waters that gave rise to this piece of the story. For now, however, let’s just say that part of its point is this: the people are saved by seeing. When the fiery/poisonous/winged serpents come among them, those who succumb to snakebite know where to turn their attention, and thereby live.

In his conversation with Nicodemus, Jesus accrues this meaning to himself. Look on me and live, he says. Turn your gaze, your attention, your focus to me, and you will be saved by the hand of the God who sent me, not for the punishment of the world but for the utter love of it.

The imagery that Jesus offers Nicodemus could hardly be more potent in our own time. Amid the perils of the present, amid the terrors and dangers, God in the main chooses not to remove the hazards from us but continues to provide a remedy for us. In the person of Jesus, God put on flesh and came not only to walk among the dangers with us but also to help make a way through them.

Jesus’ words in this passage prompt me to ponder, where am I turning my attention these days? How do I seek to do what Jesus invited Nicodemus to do: to turn my attention, to turn my gaze toward him—not merely to escape punishment, but as my response to the love that impelled God to send us Christ?

Those questions alone would be enough to carry me through the rest of Lent, a season designed to help us discern what we’re giving our attention to. Yet Jesus’ reference to the snaky tale in Numbers prompts me to ponder, too, where I’m turning not only my attention but also my imagination these days. The presence of the serpent in the text beckons us to attend to the mythic matrix out of which the story of Jesus arises.

If we know Jesus only from reading the New Testament, we’re missing entire layers of meaning. The early hearers of the Jesus story—those who were familiar with the Hebrew scriptures—encountered and understood him in the context of the symbols, images, and metaphors upon which he drew. As we find in next Sunday’s text, those images can take us down some strange paths, to be sure. But they tug at and feed our imagination in crucial ways, telling us what words alone cannot convey.

The metaphors, images, and symbols that slither through our sacred texts beckon us also to consider what we steep our imaginations in—not only within the scriptures but also beyond them. In a culture in which our conversational referents tend to fit within a fairly narrow patch of common ground that’s dominated largely by television and other electronic media, how do we feed our imaginations—and our souls—with the things that will bring richness and depth?

I’m not going to give up the occasional episode of Friends, or the other shows that provide a break for a brain that spends probably way too much time pondering and processing and thinking about stuff. In these Lenten days, though, I’m going to give some thought to where I’m turning my attention and imagination, and to how Jesus calls me not only to turn them toward him, but also to the widespread wonders in which he can be found.

Where are you turning your gaze these days? What are you steeping your imagination in? What are you giving your eyeballs, your mind, your soul to? Stories, images, metaphors, poetry, art: what is the culture that you are creating and participating in, or long to be? How does this help you encounter the incarnate presence of the God who came solely for love of you?

A blessing upon your eyes this week, that you will find wonders along the way.

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

Resources for the Season: Looking toward Lent

Coming Attractions

March 15, 2009

We have a richness of special days coming up this week, so I wanted to give a quick nod to them and offer some resources for their contemplation and celebration.

March 17, of course, marks the Feast of St. Patrick, patron saint of Ireland. For my reflection from last year, visit Feast of Saint Patrick.

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March 19 gives us the Feast of Saint Joseph, the remarkable man who listened to angels and took both Mary and Jesus into his care. Joseph has made a number of appearances in my artwork; I invite you to stop by and see him at The Advent Hours and The Advent and Christmas Series.

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This year, the vernal equinox (also called the spring equinox—in the Northern Hemisphere—or the March equinox) falls on March 20. I posted a reflection on the autumnal equinox here last year; the sentiments apply in springtime as well. Just turn the image upside down for the vernal version!

May you have a festive week!

Lent 3: The Temple in His Bones

March 11, 2009

Image: The Temple in His Bones © Jan Richardson

Reading from the Gospels, Lent 3, Year B: John 2.13-22

On my first afternoon in Rome a few years ago, I climbed on the back of my friend Eric’s motorcycle and set off with him to begin my acquaintance with the Eternal City. A few minutes down the road, he told me to close my eyes. When we came to a stop and I opened them, my field of vision was filled with one of the most impressive sights in a city of impressive sights: the Pantheon. Built in the second century AD, the Pantheon replaced the original Pantheon that Marcus Agrippa constructed fewer than three decades before the birth of Christ. A temple dedicated to “all the gods” (hence its name), the Pantheon became a church in the seventh century when Pope Boniface IV consecrated it as the Church of Santa Maria ad Martyres. It’s said that at the moment of the consecration, all the spirits inhabiting the former temple escaped through the oculus—the hole in the Pantheon’s remarkable dome that leaves it perpetually open to the heavens.

As churches go, it’s hard to top the Pantheon for its physical beauty and power. It was perhaps risky to see it on my first day, so high did it set the bar for the rest of my trip. Yet Rome, of course, brims with delights for the eyes, and the next two weeks offered plenty of stunning visual fare. Amid the calculated grandeur, I found that it was the details that charmed me: the intricate pattern of a Cosmatesque marble floor, the shimmer of light on a centuries-old mosaic, the inscribed marble fragments that had been unearthed and plastered to the walls. It was staggering to contemplate the countless hours and years that went into the construction of these spaces, or to fathom the vast wells of talent and skill that generations of architects, artisans, and laborers lavished upon them.

The Roman churches that most linger in my memory are those that possessed a clear congruence between the physical environment and its purpose—those places of worship that were not primarily tourist destinations but true sanctuaries. I felt this congruence keenly, for instance, in the Church of Santa Maria in Trastevere. The space intrigued me from my first moments in it, on the first evening of my trip. I would return several times, learning along the way that one of the many ways the church serves the surrounding Trastevere neighborhood is as a place of prayer for the Community of Sant’Egidio, a lay movement of people who work for reconciliation, peace, solidarity with the poor, and hospitality to pilgrims.

On the day that Jesus sweeps into the temple, it’s this kind of congruence that is pressing on his mind. We don’t know precisely what has him so riled up; after all, particularly with Passover drawing near, there are transactions that need to take place in the temple. As Jesus enters, he sees those who are attending to the business involved in the necessary ritual sacrifices, but he seems to feel it has become simply that: a business. Commercial transaction has overtaken divine interaction. Time for a clearing out, a return to congruence between form and function, to the integrity of the purpose for which the temple was created: to serve as a place of meeting between God and God’s people.

To those who challenge his turning over of the temple, Jesus makes a remarkable claim: that he himself is the temple. “Destroy this temple,” he says to them, “and in three days I will raise it up.” His claim stuns his listeners, who know that the sacred space in which they are standing—the Second Temple, which was in the midst of a massive renovation and expansion started by Herod the Great—has been under construction for forty-six years. John clues us in on the secret that the disciples will later recall: “He was speaking of the temple of his body.”

This scene underscores a particular concern that John carries throughout his gospel: to present Jesus as one who takes into himself, into his own body and being, the purpose of the temple. Richard B. Hays writes that in making the link between Jesus’ body and the temple, this passage provides “a key for much that follows” in John’s gospel. “Jesus now takes over the Temple’s function,” Hays observes, “as a place of mediation between God and human beings.” Hays goes on to point out how Jesus’ sometimes enigmatic sayings about himself in John’s gospel—for instance, “Let anyone who is thirsty come to me, and let the one who believes in me drink” and “I am the light of the world”—are references to religious festivals whose symbolism Jesus takes into himself.

Perhaps, then, it all comes down to architecture. The decades of work that have gone into the physical place of worship, the skill of the artisans, the labors of the workers; the role of the temple as a locus of sacrifice, of celebration, of identity as a community; the power and beauty of the holy place: Jesus says, I am this. Jesus carries the temple in his bones. Within the space of his own body that will die, that will rise, that he will offer to us, a living liturgy unfolds.

We will yet see the ways that Jesus uses his body to evoke and provoke, how he will offer his body with all its significations and possibilities as a habitation, a place of meeting, a site of worship. Calling his disciples, at the Last Supper, to abide in him; opening his body on the cross; re-forming his flesh in the resurrection; offering his wounds to Thomas like a portal, a passageway: Jesus presents a body that is radically physical yet also wildly multivalent in its meanings.

The wonder and the mystery of this gospel lection, and of Jesus’ life, lie not only in how he gives his body as a sacred space but also in how he calls us to be his body in this world. Christ’s deep desire, so evident on that day in the temple, is that we pursue the congruence he embodied in himself: that as his body, as his living temple in the world, we take on the forms that will most clearly welcome and mediate his presence. In our bodies, in our lives, in our communities; by our hospitality, by our witness, by our life of prayer: Christ calls us to be a place of meeting between God and God’s people, a living sanctuary for the healing of the world.

The season of Lent beckons us to consider, are there things we need to clear out in order to have the congruence to which Christ invites us? Who helps you recognize what you need to let go of in order to be more present to the God who seeks a sanctuary in you? How is it with your body—your own flesh in which Christ dwells, and the community with which you seek to be the body of Christ in the world? What kind of community do you long for—do you have that? What would it take to find or create it?

In these Lenten days, may we be a place of hospitality to all that is holy. Blessings.

[Richard B. Hays quote from his chapter “The canonical matrix of the gospels” in The Cambridge Companion to the Gospels, ed. Stephen C. Barton.]

Resources for the Season: Looking toward Lent

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

Lent 1: A River Runs through Him

February 27, 2009

A River Runs through HimImage: A River Runs through Him © Jan Richardson

Reading from the Gospels, Lent 1, Year B: Mark 1.9-15

Well, it doesn’t get much more basic, does it? A man. A wilderness. A few wild beasts for company. And, in Matthew and Luke’s telling of it, no food.

Forty days.

Jesus has just been baptized, just been Holy-Spirit-descended-upon, just been named Son and Beloved. One might think he is now raring to begin his ministry (or what have the past three decades been for?). Instead he goes in the opposite direction. Into the wild. He disappears into the desert as his Jordan-drenched flesh goes dry.

I wonder if, as he settled into that landscape, Jesus thought of those who preceded him in the wilderness. I wonder if he went through the list in his head, remembering his forebears who entered into those betwixt places, the spaces that lay between where they had been and where they were going, between the life they had known and the life they could barely envision. Every morning when he woke up, did he utter a liminal litany?

Hagar
cast into the wilderness with her young son

Jacob
on the run from his brother

Moses and Miriam and Aaron
and all the children of Israel
wandering but delivered from their bondage

Elijah
fleeing for his life from queen Jezebel

Jesus was in good company. The wilderness may be a place of solitude, but it is at the same time a mythic place, imprinted by all who have inhabited it for a little or a longer while. It breathes with the memories of those who found themselves there by accident or intent, who fled there for safety or who entered it in search of what they could not find elsewhere.

In his desert sojourn, did Jesus ever wish for the wellspring that the angel revealed to Hagar in the wilderness, when her son was on the point of death? Did he pray for a vision, a dream like Jacob’s to direct and sustain him? Did he start hungering for the manna that nourished the Israelites in their journey? (And did those wild beasts that Mark mentions start looking tasty to him?)

Did the question that came to Elijah (traveling for forty days and forty nights in the strength of the angel-borne food) come also to him:

What are you doing here?

That’s the question that the desert gives us, isn’t it? What are we doing here? Not just: what are you doing here in this physical place, but also: what are you doing here in this life?

Sometimes it takes going into the wilderness, of body or of soul, to find the answer to this question. Traveling toward where the familiar contours of our lives disappear. Leaving the landmarks behind, the people and patterns and possessions that orient us.

That’s where Jesus goes. Surfacing from the waters of his baptism, he doesn’t fling himself into his ministry, doesn’t take up his work among the community that will meet him with both belief and betrayal. He first goes into the place where everything is stripped away, and he confronts the basic questions about who he is and what he is doing.

We don’t know precisely what it is that Jesus learns there, what he comes to know about himself in that Forty Day Place. We do know that when Satan shows up, Jesus is ready. What Mark hints at in his version, Matthew and Luke describe more fully: Jesus meets the chaos of his tempter with clarity. The baptismal waters may have evaporated from his skin, but not from his soul. A river of knowing runs through him. He is drenched with discernment.

Beloved. Son.

This is what he knows.

When Jesus leaves the wilderness, he takes this clarity with him as a treasure of the desert, a sign of the sustenance that always comes to those who survive that landscape. Baptized in the Spirit, named by the Creator, attended by the angels, Jesus walks out of the desert and into the life that has been prepared for him. He is an initiate, ready, going in the company of all who know what it means to walk through the wilderness and find the gifts God hides there. Perhaps he carries their names on his lips as he crosses back into the community, prepared to proclaim the good news; perhaps those names pound in him like a heartbeat, or rush in his ears like the sound of an ancient river:

Hagar, Jacob, Moses, Miriam, Aaron, Elijah…

So what are you doing here? At the outset of the Lenten journey, why are you where you are? What do you need from the Forty Day Place that this season offers? Is there a wilderness you need to enter—with your body or with your soul or with both—in order to gain clarity at this point in your life? What might that look like? Whose stories could you draw on, lean on, take heart from, as you contemplate this?

As you travel into this Lenten landscape, may you find what you most need, may you receive the gift you never expected, may you find strength in those who have journeyed there before you, and may angels attend your way. Blessings.

[For last year’s reflection on Matthew’s version of this story, visit Discernment and Dessert in the Desert.]

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

Resources for the season: Looking toward Lent

 

The Artful Ashes

February 22, 2009

blog-2009-ash-wednesday-2Image: Ash Wednesday © Jan Richardson

Readings for Ash Wednesday: Joel 2:1-2, 12-17; Psalm 51:1-17;
2 Corinthians 5:20b – 6:10
; Matthew 6:1-6, 16-21

When I received the invitation to do the artwork for Peter Storey’s book Listening at Golgotha, a series of reflections on the Seven Last Words of Jesus (featured in Friday’s post), it came as a lovely bit of synchronicity. His editor, who had been the editor for my first book, wasn’t aware that Peter and I were acquainted, having crossed paths on a few occasions when he was visiting the U.S. from his native South Africa. The catch was that the artwork had to be in black and white. With my having worked primarily in paper collage, black and white was not exactly my first language, artistically speaking. I so wanted to work on Peter’s book that I told the editor yes. Then I set about to figure out what kind of black and white medium I could manage.

I tried doing collages in black and white, but made little headway. After several other experiments, I picked up a piece of charcoal. And fell in love.

Beginning to work with charcoal was like learning a new language, with the delights and challenges that come in such a process of discovery. Most of my early sketches were a mess. I could sense that a style was stirring, but in the beginning stages it appeared so raw and unformed that I began to despair of having anything ready in time for Peter’s book.

On the verge of calling the editor to do an embarrassing backing-out dance (an awkward jig that I try hard to avoid), I instead called my artist friend Peg to ask if she could either collaborate with me or counsel me on the project. Peg told me to bring her all the sketches I’d done: the good, the bad, and the ugly. To my eye they were mostly bad and ugly. But Peg took the smudgy, ashy papers, spread them out, and pondered them. In a fashion that struck me as being something like lectio divina, she followed their tangled lines until she began to perceive something that had the beginnings of coherence and form. Moving through what I had perceived as chaos, Peg showed me what she saw, and she offered suggestions on how to pursue and develop the path that had been obscure to me. Not only did this help make it possible to complete the project, but it also began to open creative doors within and beyond me in ways I never would have imagined.

In large part, what I came to love about working in charcoal was the dramatic contrast it offered to my colorful, often intricate collage work. Where collage involves a process of accumulation and addition as the papers are layered together, charcoal invites me to an opposite experience. When I do a charcoal drawing, my goal is to find the fewest number of lines necessary to convey the scene. It is a medium of subtraction, involving little more than a piece of blank paper, a stick of charcoal, and an eraser to smudge and then smooth away all that is extraneous. What remains on the page—the dark, ashen lines—is spare, stark, sufficient.

For every artist, one of the most crucial habits to develop is staying open to what shows up. In the process of cultivating a unique vision, with all the consuming focus that involves, we have to learn, at the same time, how to keep an eye open for the creative surprises and invitations that can lead us to new pathways or deepen existing ones. If I stay too attached to a favorite medium or familiar technique, I risk shutting myself off to possibilities that can take me to whole new places in my work and in my own soul.

Taking up a new medium, entering a different way of working, diving or tiptoeing into a new approach: all this can be complex, unsettling, disorienting, discombobulating. Launching into the unknown and untried confronts us with what is undeveloped within us. It compels us to see where we are not adept, where we lack skill, where we possess little gracefulness. Yet what may seem like inadequacy—as I felt in my early attempts with charcoal—becomes fantastic fodder for the creative process, and for life. Allowing ourselves to be present to the messiness provides an amazing way to sort through what is essential and to clear a path through the chaos. To borrow the words of the writer of the Psalm 51, the psalm for Ash Wednesday, it creates a clean heart within us.

Ash Wednesday beckons us to cross over the threshold into a season that’s all about working through the chaos to discover what is essential. The ashes that lead us into this season remind us where we have come from. They beckon us to consider what is most basic to us, what is elemental, what survives after all that is extraneous is burned away. With its images of ashes and wilderness, Lent challenges us to reflect on what we have filled our lives with, and to see if there are habits, practices, possessions, and ways of being that have accumulated, encroached, invaded, accreted, layer upon layer, becoming a pattern of chaos that threatens to insulate us and dull us to the presence of God.

Each of the scripture texts for this day invites us to ponder the practices that we have given ourselves to, and the practices to which God calls us, both individually and in community. The prophet, the psalmist, the apostle, and Jesus himself all urge us, in these readings, to pay attention to the rhythms of our lives so that we may discern which rhythms draw us closer to God and which ones pull us away.

Where do these sacred texts find you as we cross into the season of Lent? What is the state of your heart? What has taken up residence there over the past weeks, months, years? Are there habits and ways of being that you are so invested in, so attached to, that it has become difficult to discern new directions in which God might be inviting you to move? Who can help you ponder the patterns present in your life—the good, the bad, the ugly—and help you see where new life is stirring, and where a new path might be opening? What are the most basic, elemental, crucial things in your life, and how might God be challenging you to give your attention to them in this season?

The gospel for Ash Wednesday tells us that where our treasure is, there our hearts will be also. On this day, and throughout the coming days, may we see clearly where our treasure lies, and have hearts clear and open enough to recognize the surprising forms that such treasure can take. On this day of ashes, blessings to you.

[For last year’s reflection on Ash Wednesday, visit Ash Wednesday, Almost.]

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

Looking toward Lent

February 20, 2009

blog-sevenlastwordsframed31

As Ash Wednesday approaches, I thought this would be a good time to do a bit of housekeeping here at The Painted Prayerbook. I have a few artful Lenten offerings I want to let you know about, along with some related news.

ORIGINAL ART: The artwork above is a series of charcoals that I did several years ago for Peter Storey’s book Listening at Golgotha, which offers a collection of reflections on the Seven Last Words of Jesus. The original artwork is available for sale (as an intact series), beautifully matted and framed. Great for a church, chapel, or other space for devotion/worship, especially during Lent and Holy Week. For more information, visit The Seven Last Words Series. [Update: I’m delighted that this series was acquired by Duke Divinity School, where it is permanently installed.]

MORE ORIGINAL ART: I have a few of the original pieces from The Hours of Mary Magdalene available. For details, visit The Hours of Mary Magdalene and click on the individual images.

ART PRINTS: All of the images from The Seven Last Words Series and The Hours of Mary Magdalene are available as prints; check out the Art Prints page on my website. You can also purchase prints of The Lenten Series (illustrations from my book Garden of Hollows) as well as prints of artwork from my books and my blogs.

A LITERARY 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. You can read excerpts and order at Wanton Gospeller Press. My book In Wisdom’s Path: Discovering the Sacred in Every Season includes a section for Lent and Easter. Visit the Books page on my website for details on this book that includes my full-color artwork.

IMAGES ONLINE: Thanks so much to everyone who has requested permission to use my artwork. In response to the number of requests, I’m working to create a website that will enable congregations and other communities to download high-resolution files of my images for use in worship and educational settings (bulletin covers, PowerPoint, etc.). The artwork will be available for a per-image fee, or, for an annual subscription, churches can have access to all the images for a whole year. I’m aiming to have this ready sometime this spring, and I look forward to having this new service available as a way to share mutual creative support with worshiping communities and other groups. In the meantime, I am always happy to respond to individual requests. Thank you for being mindful that, like most artwork, the images on my blogs, website, and in my books are under copyright. I am really happy for folks to make use of my artwork, but permission must be sought for use of these images in any format. Details and contact info are available at Copyright Permissions. [Update: images for use in worship and related settings are available at Jan Richardson Images.]

eNEWSLETTER: I send out an occasional e-newsletter. It includes a seasonal reflection, artwork, information about current offerings and upcoming events, and whatever else strikes my creative fancy. I would be delighted to include you in my mailing list if you haven’t already subscribed. You can sign up here.

GRATITUDE: Most of all, thank you for visiting The Painted Prayerbook and for the sustenance and companionship you provide along the way. Your comments, emails, prayers, and presence are all tremendous gifts on my path. Please know that I pray for you and that I carry a heap of gratitude for the ways you help make possible my work in this world.

Many blessings to you in these remaining days of Epiphany!