Religion and Art Religion and Art: How Visual Art Triggers the Human Imagination to Personal and Social Transformation

Dedication

Art has to do with human creativity. It is the making of things that have form or beauty. A work of art draws us beyond what our senses distinguish to what the artist was attempting to express. Art, by definition, is always somewhat mysterious. Art, as any poetic work would do, presents us with an image and then invites the viewer to fill in the blanks with his or her own lived experience.

The Art and Religion collaboration began as an invitation to those in our campus community to consider one of the religious works of Rembrandt in the current exhibit in the David McCune International Art Gallery, and to fill in the blanks with one’s own lived experience. Seven persons accepted that invitation to share their lived experience, enriched and witnessed by Rembrandt’s works. The culmination of the collaboration is this collection of essays, an offering in gratitude to the Creator for the gift of the artistic eye, for the talent of Rembrandt, for the gifts of the interpretive word, and for the stories of scripture that first breathed life into these works.

I am indebted to James L. Empereur for the title of this collaborative project, “Art and Religion: How Visual Art Triggers the Human Imagination to Personal and Social Transformation,” through which Rembrandt’s voice from the 1600s speaks to the space in which we find ourselves today.

I am grateful to MU Art Professor Silvana Foti, who invited me to envision a collaboration between the McCune Gallery and Methodist University Religious Life around the Rembrandt exhibit, and whose love of art and vision for bringing world-renowned art to our campus continues to curate a sense of culture and excellence among the community.

With affection and respect, this publication is dedicated to Professor Foti on the occasion of the 10th anniversary of the McCune Gallery.

Rev. Kelli W. Taylor Vice President of Religious Life and Community Engagement RELIGION AND ART ESSAYS

Stone-thrower or Bystander? Necessary Questions for Social Transformation...... Maria Choi English, Class of 2021

Christ Driving the Money Changers from the Temple: Using a Wide-Angle Lens On a Small Sketch...... Arleen Fields Assistant Director of Library Services and Archives Librarian

Not My Will...... Dr. George Hendricks Senior Director for Community Affairs Professor of Social Work

Reclaiming Sacred Space in the Midst of Turmoil...... Mark R. Regensburger Assistant Professor of Management

Light to Work By ...... Rev. Kelli W. Taylor Vice President of Religious Life and Community Engagement University Chaplain

Throw Open the Window...... Dr. Kelly Walter Carney Chair, English & Writing Professor of English Co-Director, Women’s Studies

Witness...... Dr. Stanley T. Wearden President Stone-thrower or Bystander? out his duty to rid the world of the dangerous, blasphemous Stephen, who Necessary Questions for Social Transformation stands in opposition to his beliefs, his education, and his worldview. The men stoning Stephen do not seem driven by some evil, depraved desire Maria Choi to take another’s life – our interaction with the etching would be more English, Class of 2021 comfortable if they were, because we would be able to say confidently, in righteous indignation, that we are nothing like the crowd killing an When the members of the Sanhedrin heard this, they were innocent man. Rather, the men seem to be acting out of what they see as a furious and gnashed their teeth at him. But Stephen, full of the Holy moral obligation to preserve their doctrines, carrying out a necessary act Spirit, looked up to heaven and saw the glory of God, and Jesus for the greater good of removing a threat to their way of life. standing at the right hand of God. “Look,” he said, “I see heaven open and the Son of Man standing at the right hand of God.” At this In continuation of this idea, Rembrandt introduces a group of bystanders they covered their ears and, yelling at the top of their voices, they to the scene in the bottom right of the etching. From this group, only one all rushed at him, dragged him out of the city and began to stone keeps his eyes on Stephen; the other three avert their gaze or turn their him. Meanwhile, the witnesses laid their coats at the feet of a young head. If we were not able to relate to the men with stones in their hands, man named Saul. While they were stoning him, Stephen prayed, perhaps we can see ourselves in these four men. They are a safer position “Lord Jesus, receive my spirit.” Then he fell on his knees and cried to relate to: they are not participating, and they take no pleasure in the out, “Lord, do not hold this sin against them.” When he had said this, brutality to come. They are innocent bystanders. That is, if one can be a he fell asleep. (Acts 7:54-59 NIV) bystander of wrongdoing and still be innocent.

I wonder what these four men are thinking, and if their mindset compares at all to the common response today when the news comes of another death, persecution, or mistreatment of a person who comes from a different background, a different religion, who looks or speaks differently. I wonder if the man who has turned his head away is thinking, “This is horrible, but Stephen should have known that as a Christian he needs to be more careful”; if the man who has lowered his eyes is saying to himself, “It looks bad, but he probably deserves it”; if the man who has slightly bowed his head is reasoning, “I wish this weren’t happening, but there’s nothing I can do.”

These questions are difficult to reflect upon. This tendency towards excuses is a little too relatable. I had first thought to base my reflection of this etching on the depiction of Stephen, to write about his martyrdom as a challenge to personal transformation. Instead, I am challenged to consider where in my life I am acting in the position of the men surrounding Stephen, frightened and angry over the threat of change to their lifestyle, or, more likely, where I am in the position of the bystanders, who, though not physically holding the rocks, are standing The Stoning of St. Stephen, 1635, etching aside and clearing the space for the stones to fall.

The story of Stephen’s death has always struck me as a call to courage It is in these reflections, in taking stock of our position in persecution and steadfastness, and in reflecting on Rembrandt’s “The Stoning of St. today – in whatever form it takes – in drawing the line between our Stephen,” I expected to be moved by a vivid depiction of Stephen’s refusal convictions that should remain unchanged and between our judgments to deny his convictions, even in the face of death. I expected Rembrandt based on an incomplete knowledge of others’ stories, and in considering to portray a glorious Stephen, bathed in light with a face like an angel’s, a whom our action or inaction harms, that social transformation becomes picture of peace and spiritual transcendence in the midst of the violence possible. For social transformation begins with a personal decision; it is and anger of the crowd around him. personal transformation extended outward, focusing on others rather than self. The instinct to protect our own comfortable lifestyle and worldview The etching, however, does not focus on Stephen as an inspiring must shift to an instinct of self-awareness and other-centeredness. figure. The brightest part of the scene to which our eyes are drawn is not Stephen’s face, but rather the large stone getting ready to descend Easier said than done. But in drawing our attention to the violence on the collapsed Stephen, who is held up by another’s strength. And against the vulnerable Stephen, Rembrandt’s etching also suggests that Stephen’s eyes – are they closed tightly, squeezed shut as he waits for the this violence is not the result of an overpowering evil that cannot be deathblow? Or are they staring blankly, helplessly, into the face of his stopped, but the result of ordinary people who wanted to do their duty persecutor? Neither option is an admirable, honorable position from to uphold the current system and the way things had always been or who which Stephen heroically calls others to stand firm in their beliefs and simply wanted to not get involved. As such, Rembrandt’s “The Stoning of to die in glory. Instead, Rembrandt confronts us with the cruel strength St. Stephen” reminds us not only that persecution against the innocent of the persecutors and the violence of the stones ready to crush the life exists, but that, whether purposefully or not, our action and inaction from Stephen’s body. plays a role in the continuation of violence. On the reverse side, we can reflect on a more hopeful reminder: our personal action also plays a role Surely, we don’t need to be reminded that the world is full of people in transforming our society and bringing peace, healing, and unity. who act in violence towards others. We know there are people who take pleasure in the pain of others; we need only look at the face of the Prayer: Father, teach us to align our hearts with your truth and love man second from the left, his mouth twisted in a grin as he eagerly and to rid ourselves of any beliefs, perceptions, and actions that are anticipates the moment of rock meeting flesh. Yet, strangely, the other men not in accordance with your will. Give us wisdom and courage to live surrounding Stephen do not appear to enjoy the violence in which they like Jesus Christ. Help us to seek justice, love mercy, and walk humbly are partaking. The faces of the two men about to strike Stephen are not with You. Amen. malicious; the man in the light holding Stephen up by his garment hardly even appears angry, but rather resolute, as though he is resolved to carry Christ Driving the Money Changers from the Temple: Read this story to a fourth grade Sunday school class and ask who the Using a Wide-Angle Lens On a Small Sketch main characters are, and they’ll probably say “Jesus” and “the money changers.” But this Rembrandt etching reminds us that the Temple was

Arleen Fields a very crowded and busy place (especially the week before Passover!), Assistant Director of Library Services and Archives Librarian and that the cast of this drama involves many other players. Rembrandt’s depiction adds a merchant trying to flee with his basket of doves, two Then Jesus entered the temple and drove out all who were selling calves, onlookers, a priest, and a penitent among the throng. and buying in the temple, and he overturned the tables of the money changers and the seats of those who sold doves. He said to them, “It Unlike many other artists of the time, “Rembrandt van Rijn did not feel is written, ‘My house shall be called a house of prayer’; but you are an obligation to make his human subjects noble, let alone perfect… [but he was] seldom rivalled as a topographer of the human clay.”6 If we look making it a den of robbers.” (Matthew 21:12-13 NRSV) closely, we can find ourselves in the scene as one of the characters, or, more likely, several of the characters:

Jesus: Are we exhibiting truly righteous anger? Or are we just offended?

The money changers: They appear more annoyed and inconvenienced than frightened. One money changer is huddled over a sack of money, apparently trying to protect it. Does he think Jesus is going to try to steal it, misunderstanding Jesus’s motives? When called to account, do we get defensive, or heed the call to change our ways?

The dove seller: When we get caught in wrongdoing, do we try to sneak away when no one is looking?

A calf who appears to be amused at the whole scene: Schadenfreude can be a very satisfying emotion, but do we realize that the suffering of others inseparable from our own? Christ Driving the Moneychangers from the Temple, 1635, A calf that appears to be frightened: Do we fear change, not etching and drypoint understanding that liberation may be at hand?

The account of Jesus driving the money changers from the Temple is The curious onlookers: They don’t want to get involved, but they’re found in all four canonical gospels, showing that the early Church must certainly interested in what’s going on, and will spread the news as soon have found the incident critical to telling the story of Jesus. Perhaps the as they have a chance. Are we just interested in spreading the news, but most obvious interpretation of the story is that Jesus was incensed that not taking it to heart? the moneychangers and animal sellers were taking advantage of pilgrims, poor people, and widows by overcharging them for currency conversion The priest ignoring the commotion: Are we willing to lay aside and sacrificial animals. That understanding apparently resonates with our symbols of power (in this case, the priest’s shepherd’s crook and many Christians today, since “Inasmuch as ye have done it unto one of 1 conspicuous hat) and truly internalize Jesus’s message from the Sermon the least of these… ye have done it unto me” is a popular sign at protest on the Mount that “blessed are the meek” and “blessed are those who events calling for social justice. hunger and thirst for righteousness?”7

But what point was Jesus really trying to make? According to New The penitent ignoring the commotion: Throughout the Hebrew Bible Testament scholars Marcus Borg and Dominic Crossan, changing money (what Christians call the Old Testament) God upbraids his people for and selling animals was a necessary part of temple worship, and not 8 2 valuing ritual over righteousness. Is our faith based on doing the right necessarily exploitative. Jesus’s “den of robbers” accusation references things and following the rules, rather than working for justice? Jeremiah 7:12-14, in which the prophet warns that God will destroy the Temple if God’s people continue to value worship over justice. The Temple 3 In the words of the prophet Micah, “What does the Lord require of you is not where the robbery is taking place, but where the robbers seek refuge. but to do justice, and to love kindness, and to walk humbly with your God?”9 Rembrandt’s interpretation of Jesus’s interaction with the money Throughout the centuries artists have transformed this and myriad changers allows us to step back, put the scene into perspective, and other biblical events from words to pictures. Vanderbilt University has insert ourselves into the narrative. How we see ourselves revealed in each a searchable database of almost 6,000 visual representations of scripture character illuminates the path we need to follow in order to change our from the Christian tradition, with images dating from the first century own lives and thereby change the world. A.D. to the present time.4 Why the drive to interpret scripture through visual art? Sometimes the motive is pragmatic: stained glass church Prayer: Creator God, in the midst of the chaos, remind us to step back, windows in medieval Europe told stories from the Bible to illiterate 5 quiet our minds, and seek perspective about the role we are to play in churchgoers. More often, though, the attempt is made in order to bringing your kindom into this present reality. Amen. reframe the narrative. The rationale begins with “a picture is worth a thousand words” but quickly moves from representation to imagination. The change in perspective forces our brains to work in novel ways, leading to insight and creativity. 1 Matthew 25:40 (KJV) 2 Borg, Marcus J. and John Dominic Crossan. “The Last Week: A Day-By-Day Account of Jesus’s Final Week in Jerusalem.” HarperSanFrancisco, 2006. p. 48. 3 Ibid. p. 44. 4 Vanderbilt University. “Art in the Christian Tradition.” https://diglib.library.vanderbilt.edu/act-search.pl. 5 Jones, Carol Anne. “Shine Forth Upon Us in Thine Own True Glory.” The Institute for Sacred Architecture, no date, www.sacredarchitecture.org/articles/ shine_forth_upon_us_in_thine_own_true_glory/. 6 Hughes, Robert. “The Enduring Genius of Rembrandt.” The Guardian, Guardian News and Media, 10 Feb. 2006, www.theguardian.com/ artanddesign/2006/feb/11/art. 7 Matthew 5:5-6 (NRSV). 8 See Isaiah 1:11-17 for a good example. 9 Micah 6:8 (NRSV). Not My Will... symbolize this exchange: the knife hanging at Abraham’s side, which will potentially be used for preparing the sacrifice; the wooden sticks Dr. George Hendricks brought by Isaac, which will be used for the sacrifice; and the smoking Senior Director for Community Affairs; Professor of Social Work pot that will be used to kindle the flame. The etching’s major, and most famous, focal point is Abraham’s finger of his left hand pointing to God But the angel of the Lord called out to him from heaven, “Abraham! and his right hand holding his heart. Abraham’s facial expression is one Abraham!” “Here I am,” he replied, “Do not lay a hand on the of determination to carry out what has been asked of him. Isaac’s facial boy,” he said. “Do not do anything to him. Now I know that you expression is of fear, dread, and insecurity over the events that he is fear God, because you have not withheld from me your son, your having trouble comprehending. only son.” Abraham looked up and there in a thicket he saw a ram[a] caught by its horns. He went over and took the ram and Rembrandt does a fabulous job of visually representing the Old sacrificed it as a burnt offering instead of his son. So, Abraham Testament story by highlighting the struggle Abraham has in obeying called that place The Lord Will Provide. And to this day it is said, “On God’s command on one hand, and his love of Isaac on the other. This the mountain of the Lord it will be provided.” (Genesis 22:11-13 NIV) etching triggers a human reaction with the various items that will be used to kill Isaac. This etching helps to make more clear Abraham’s willingness, and encourages in the viewer a desire, to trust and obey God’s commands, even while painfully questioning God’s intentions. Quite a powerful illustration and meaning.

The existential philosopher and theologian, Søren Kierkegaard, wrote a commentary on this event in a book entitled Fear and Trembling. After studying this etching and the biblical story, I understand that Kierkegaard’s response was one of fear and trembling. I gained some comfort when I researched a different conversation between Martin Luther and his wife Katie, a former nun. When Katie heard the story of Abraham and Isaac, she exclaimed, “God would never treat his son like that.” Luther replied, “But Katie, he did.” This certainly highlights the possibility that this story could be viewed as a precursor of the crucifixion.

Although I cannot put my finger on it, there is something in this etching that upsets our current worldview. The incarnation, and especially the crucifixion, is the central concept of the Christian faith. This story makes us question the current contemporary worldly approach which honors powerful people and symbols. In contrast, the primary symbols of Abraham and Isaac, 1645, etching and burin God’s revelation of himself to the world is through Jesus’ execution as a common criminal who is crucified on a cross. There is, as Martin Luther I was asked to provide a devotional for the “Religion and Art” project realized, a connection between Genesis 22 and the crucifixion. commemorating the “Rembrandt: The Sign and the Light” exhibition for the David McCune International Art Gallery’s tenth anniversary. As I studied the list of Rembrandt’s etchings in the exhibition, I realized I reviewed “Abraham and Isaac,” Rembrandt’s 1645 etching and burin that many of them were based on religious themes and pictured images which depicts the story of Abraham and Isaac from Genesis 22: 1-14. from the Bible. I increasingly appreciated Rembrandt’s interest in, I was quite hesitant to comment on perhaps the greatest visual artist and focus on, religious topics. He had over 300 pieces that featured a in history, but, as a liberally educated person, a social worker, and a biblical theme. But I began to recognize that no one would have accused Christian, I viewed this as an opportunity to enhance my knowledge of Rembrandt of having enrolled in the “feel good school” of Christian Rembrandt’s work. understanding. While many of his works reveal deep Christian faith, there is no evidence that Rembrandt formally belonged to any church. In this etching, Rembrandt departs from his traditional visual Many of Rembrandt’s paintings and etchings deal with painful and representations and captures the Old Testament story with tremendous disturbing images, such as the crucifixion or some other painful aspect emotional impact. In the story, God commands Abraham to offer Isaac of Jesus’s life. Some critics claim that Rembrandt preferred ugliness as a sacrifice on Mount Mariah. After Isaac is bound to the altar, and just to beauty. These ideas led to my conjecture that his art played a role as Abraham raises the knife to slay his own son, an angel stops Abraham, in his own human imagination and his own personal and social saying, “now I know you fear God.” Abraham looks up, sees a ram, and transformation, from a faith perspective. sacrifices it instead of his son, Isaac. I am thankful for this opportunity to share my interpretation of This etching is a good example of Rembrandt’s interest in the prelude Rembrandt’s etching and biblical reference. The story has a deep to emotional catharsis, namely the sacrifice. This particular test of meaning enhanced through Rembrandt’s beautiful etching. There is an Abraham’s love also foreshadows God’s sacrifice of his only son, Jesus old Gospel song that reflects the overall message of the etching, “Trust Christ, on the cross. God’s sacrifice was even further beyond what God and Obey.” required of Abraham. The etching’s details (facial expressions, hand gestures, various images) cause us to visually question the story on a Prayer: Almighty God, help me to know you more each day and to personal, human level—something that is hard to adequately articulate trust you to care for me. Let my life be characterized by obedience to in the written word. you so that others may be drawn to you.

In the etching Isaac is noting to Abraham that there is no animal to sacrifice and Abraham replies in an emotionally charged statement, “The Lord will provide.” There are many elements in the etching that Reclaiming Sacred Space in the Midst of Turmoil of prayer.” The politico-religious leaders of his time had allowed it to become dedicated to the material—to fulfilling the letter of the law with Mark R. Regensburger specific sacrifices and specific forms for giving to the Temple. They had Assistant Professor of Management allowed economic and political power to invade the spiritual space. Jesus responded by driving out the money changers and livestock merchants; When it was almost time for the Jewish Passover, Jesus went up to in John’s account, he accomplishes this using a whip of cords. In Mark’s Jerusalem. In the temple courts he found people selling cattle, sheep record, the chief priests and the scribes respond to this radical action by and doves, and others sitting at tables exchanging money. So he seeking some way to destroy Jesus. made a whip out of cords, and drove all from the temple courts, both sheep and cattle; he scattered the coins of the money changers Rembrandt clearly shows commercial activity going on, which looks a and overturned their tables. To those who sold doves he said, “Get great deal like his pictures of village marketplaces. Jesus is at the center these out of here! Stop turning my Father’s house into a market!” His with his whip, flailing away at the merchants, who scatter before him. We disciples remembered that it is written: “Zeal for your house will also see the priests and scribes in the background at an elevated distance, consume me.” (John 2:13-17 NIV) watching, disapproving, but not interfering.

Modern capitalism was born in the early 17th century in the Netherlands and in England, where governments granted charters of limited liability, allowing private investors to fund commercial ventures without risking their personal property. The Dutch East India Company was chartered in 1601, the Dutch West India Company in 1629. The Netherlands became a hub of global trade. The rising wealth of urban investors provided the funds that allowed Rembrandt to charge as much for one painting as most skilled craftsmen made in a year. At the same time, the rural southern provinces of the Netherlands were far behind the affluence of the northern Dutch cities, which led to political and economic strife.

In fact, the Netherlands in 1635 was a nation in turmoil. The Reformation, originating in Germany, began as an attempt to cleanse the Church of the practice of selling indulgences, which many reformers Christ Driving the Moneychangers from the Temple, 1635, likened to Jesus driving the moneychangers out of the Temple. In the etching and drypoint Netherlands, this triggered a grass-roots movement which purged the extravagant artwork that decorated the Roman Catholic churches. This Rembrandt van Rijn lived in a time of great economic and political helped spark the Protestant Dutch rebellion against the Spanish crown, turmoil. His 1635 etching “Christ driving the Moneychangers from the which brought independence in 1581, but continued on for 80 years in Temple” depicts the scene of Jesus cleansing the temple in Jerusalem of the rural southern provinces. commercial activity, while the high priests and scribes look on from a detached distance. This scene would have had relevance for Rembrandt’s Rembrandt shows clearly the differences between Protestant and Roman contemporaries—and speaks to us in a similar time. Catholic sacred spaces. The Jerusalem Temple has the clean classical columns of a good Dutch Reformed church marching off to the left, We live in an age that is focused on the material, and consumerism is while to the right the priests gather on a higher level, dressed in fancy often blamed for many of our social problems; many look to Jesus as a tall hats, with the high priest seated on a throne, accompanied by a priest spiritual counter to this materialism. Some in recent years have even with an ornate shepherds staff like that carried in the Roman Catholic characterized him as a socialist, leading a political fight against capitalist Church, as they together look down on Jesus below them. greed and selfishness on behalf of the oppressed classes to usher in a new age here on earth. This interpretation includes the idea of money as the The Dutch Republic of Rembrandt’s day feels very much like 21st century root of all evil. America. We also are a nation deeply entwined in a global economy, with considerable affluence unequally distributed, deep cultural differences, I disagree with this perspective. Jesus often spoke about money in mired in decades-long warfare. We are also a nation with a Christian positive terms. In Luke 14, he tells his listeners to sit down and carefully church that has become increasingly dominated by the economic and count the cost of building a tower before beginning. The Parable of the political divisions of our diverse nation. Both commerce and politics Talents in Matthew 25 portrays the good and faithful servant who was have invaded our sacred spaces, and these material concerns are entrusted with a large sum of money and has multiplied it to offer back increasingly dividing our faith communities. to his master. Even the “root of all evil” verse so often cited is fatherly advice from the Apostle Paul in his first letter to Timothy that “the love Rembrandt’s etching offers a different response. Christ strides in, whip of money is the root of all evil.” Money in itself is one of many material in hand, to clear away the sacred space we so desperately need. He offers things, not evil in itself; it is the way in which we deal with material the chance to create physical places dedicated to prayer and worship, safe things has spiritual consequences. from the turmoil of our days. We can leave our worldly differences at the door and come together to seek God, to seek his will and his grace. I believe that free market capitalism is, like all human creations, We can then go forth into a difficult world and address the complex imperfect, but that it has raised the standard of living and lifted more problems we face. Even when we disagree on the material solutions, we people out of poverty than any other idea in the five centuries since can be united in the spirit of Jesus Christ. Rembrandt’s day. Despite the distance in both time and affluence, there is much we have in common with the 17th century Netherlands. Prayer: Lord, you shower us with blessings, of time and talent and treasure. Help us to use these material gifts serving your kingdom, The story appears in all four Gospels. Jesus entered the Temple, a sacred without allowing them to dominate our hearts. Let us keep that sacred space set aside as the one place on earth where the Jewish people could space within us clear for you, that we may hear your living word in directly encounter their God. It is a deeply spiritual space, a “house that still, small voice to guide us through our days. Light to Work By Rembrandt’s use of light and attention to detail cause me to close my eyes as I recall a strikingly similar scene. I relive it through Rembrandt’s work. Rev. Kelli W. Taylor It’s 3 a.m. My shoes click against the sterile tile floor as the view down Vice President for Religious Life and Community Engagement the dimly lit hallway narrows. I’ve walked this way before. A deep breath, University Chaplain eyes closed, prayer muttered, ‘Lord, your strength, please,’ I gently knock, opening the door to her room. I see it, again, for the first time: the dead body, the stunned silence, the exhales of exhaustion, the suspension of Later, Joseph of Arimathea asked Pilate for the body of Jesus. Now time. The family matriarch has breathed her last, the journey is over, the Joseph was a disciple of Jesus, but secretly because he feared the suffering ended. As the hospital chaplain, my call is to comfort, but also Jewish leaders. With Pilate’s permission came and took the body to assist with next steps. Navigating the conversation tactfully, I glean the away. He was accompanied by Nicodemus, the man who earlier had name of the family’s funeral home and gently move the few present family visited Jesus at night. Nicodemus brought a mixture of myrrh and to the hallway. In the midst of death’s chaos, there are tasks to be done: aloes, about seventy-five pounds. Taking Jesus’ body, the two of them shut down machines, remove tubes, wash tape marks on the face away, and wrapped it, with the spices, in strips of linen. This was in accordance on occasion, close the eyes. The work is all very methodical and necessary, with Jewish burial customs. (John 19:38-40 NIV) yet the nursing staff perform it with such compassion and care.

Additional family begin to move in, and each takes his or her place amid the holy moment. An adult child who has enjoyed a close relationship with her mother offers a hand to support her silver-haired head, as the nurse removes the breathing apparatus. An estranged daughter lingers at the door, with a heart full of emptiness. One son makes trips to car transporting weeks of amenities that have accumulated bedside. The son, an astute businessman and CEO, becomes a little boy again, even as he defaults to “work mode,” scrolling through numbers and making the necessary arrangements. Amid the darkest hour of the night, an uncommon light shines from the room, like an over-the-bed optic in a TV show, all eyes are drawn to the bed, the only joy amid grief, the only light amid darkness, as the crisp, white sheet is unwound and pulled over the body. In that instance, the suffering of what has been is released to the hope of what will be.

The hope of what will be. I open my eyes focusing again on the etching. I notice the two figures in the forefront: the rabbi, Nicodemus, who prepares the body and the bier which will receive it, and Joseph of Arimathea, who had requested permission to care for Christ’s body and whose privilege is noted by his tall hat, looking on. These two important The Descent from the Cross by Torchlight, 1654 persons, one a religious leader and one a rich man and secret follower of etching and drypoint Jesus, could not have been more different. Yet, they cross religious and social lines to accomplish what was needed, to give Jesus a proper burial. Peering through a magnifying glass at the dense network of etched They are burying a body, but they are doing so with the hope that one lines, I feel the heaviness and darkness that lay like a weighted blanket has when burying a seed – that new life will spring forth. Hope is only a over Rembrandt’s interpretation of the deposition of Jesus Christ’s body silhouette for now, not altogether clear, as indicated by the shadow of the from the cross by torchlight. The Bible mentions the scene only briefly, Temple in the background. offering few details. Yet, in this small etching, Rembrandt delivers the gamut of human emotion, the width and breadth of this dramatic It’s time to leave the gallery, my eyes turn outward and see a world trice which forever pivots humanity’s future. Rembrandt presses pause curating its own darkness: racial division, a global pandemic, and between the Church’s confessions, “Christ has died” and “Christ is risen,” political division. I am keenly aware that there is much necessary work revealing the unseen and necessary work to be done amid the chaos and to be done and many hands needed to do it. I recall the words of Teresa upheaval of persecution and death. of Avila, “Christ has no body now but yours. No feet, no hands on Earth but yours. Yours are the eyes through which he looks compassion on this I identify four sections in Rembrandt’s rendering of the story in world. Yours are the feet with which he walks to do good. Yours are the etching and drypoint: (1)the numerous figures taking Christ down hands through which he blesses all the world. Yours are the hands, yours from the cross on the left of the piece, (2) the torchbearer reaches from are the feet, yours are the eyes, you are his body. Christ has no body a ladder near feet of Christ, (3) a stretcher awaits Jesus’s body in the now on earth but yours.” What lines of difference will we cross to do the foreground and, finally, (4) a silhouette of the city is far beyond in the necessary work? background. Seeing the Lord’s face, I am burdened by the lifeless curtain of darkness depicted here. I take a step back. Thanks be to God that in this time in between “Christ is risen” and “Christ will come again,” God’s love and the hope of a new creation pour My eyes are drawn back, this time, to the torch, the only source of light into our darkness, giving us Light to work by. in the piece. The torchlight is necessary as Rembrandt casts this Biblical story at night. Truly necessary work must take place without regard to Prayer: God, give me the courage to do the necessary work of your time, even if that means one must work into the night. The torchlight Kingdom, even when the darkness threatens to envelope me, in sure not only allows the work to carry on in spite of the darkness, and makes and certain hope of resurrection. Amen. visible the intricate progression of events: unwinding a linen sheet to wrap the body Christ, extracting the nail from Jesus’s feet that are still attached to the cross, reaching up to support Christ’s head as his limp body is lowered from the tree. Throw Open the Window and the world chewed him up and spat him back.

The father’s welcome is as warm as one would want it to be. He bends Dr. Kelly Walter Carney over the lost boy, clinging to him with his large hands. The father’s face Chair, English & Writing; Professor of English is loving; though he smiles, his eyes are sad; he’s happy to have his son Co-Director, Women’s Studies back, but regrets his suffering. Behind the father on the stairs, a servant approaches with clothes and shoes, but, as much as the father wants to And the son said to him, “Father, I have sinned against heaven and redress his son’s suffering, he wants to hold onto him a little while first. before you. I am no longer worthy to be called your son.” But the Rather than recoil at his son’s barely-dressed body, rather than hurry him father said to his servants, “Bring quickly the best robe, and put it into more acceptable attire, the father must first reassure himself and his on him, and put a ring on his hand, and shoes on his feet. And son that all is well. bring the fattened calf and kill it, and let us eat and celebrate. For this my son was dead, and is alive again; he was lost, and is found.” Of course, there is another figure in this story: the villain, the Older And they began to celebrate. (Luke 15: 21-24 ESV) Brother. In other depictions of this parable, even ones by Rembrandt, this character figures strongly, marked by a sneer and fine clothing. Here is my argument with this parable: although I’m supposed to identify with the Prodigal, I have to admit that the Older Brother has some good points. Diligence and faithfulness are often taken for granted. I’ve always been embarrassed by his timing, though; bringing this up at his Younger Brother’s homecoming party seems tacky.

Sometimes I wonder how this story would be different if it featured an Older Sister. I know, of course, why it doesn’t; I also know that a family like the one described in the parable would likely include some sisters, but that they wouldn’t figure in the family’s official business. Nonetheless, I like to imagine an Older Sister, who might have tended the prodigal when he was a child, who taught him counting rhymes while they tended sheep, who ran back to the house to carry her father’s commands to prepare the meal, who picked out her lost brother’s favorite clothes. She’s not in the story, of course, but it pleases me to imagine her.

When I went to the gallery to look at this etching, I searched for the Older Brother, and I couldn’t find him. The Prodigal and the Father are in the center of the image; the servant in the hallway carries clothing, The Return of the Prodigal Son, 1636, etching and another vague figure (in a very peculiar hat) lurks behind that servant. If that is the Older Brother, he’s not the villain of the piece. He’s just part of the background. The best candidate, is, of course, the I chose to write on “Return of the Prodigal Son,” more or less sight person hanging out of the window, gazing down at the Father and Son. unseen. That is, I couldn’t make out the details of the thumbnail picture I leaned in with my magnifying glass, then pulled back, tilting my head that accompanied the e-mail; enlarging smeared it into a blur that to maximize the clarity of the image. I may be seeing what I want to see, neither half of my bifocals could resolve into a meaningful image. But I but I see a woman at the center of this image. The curly hair might be chose the Prodigal Son, because this is a story I’ve heard and argued with ambiguous, but the loosely-laced bodice suggests otherwise. I walked all of my life, and I wanted to see if Rembrandt could help me. around the gallery, looking for other female figures for comparison, and found nothing to confirm or unseat my suspicions. Rembrandt’s women You see, my brother was a prodigal, prodigal and prodigious: are not a conventionally pretty lot; a chubby face and carelessly-arranged charming, musical, beloved by all, the family favorite. I am the first- hairdo don’t set this figure apart from the others. I choose to believe that born, the more conventional Oldest Child. I always say that I’ve been Rembrandt included the Older Sister, throwing the window open wide, in middle management since I was four, taking care of my brother on welcoming her baby brother home. behalf of my parents, or representing his concerns to them. This isn’t something that troubles me; it’s a fact of life for many Oldest Children. Whatever gender we assign to this figure, we must look at the face; this We are in charge. We are the ones who were told that if our younger Older Sibling looks on the lost brother not with rage and envy, not with siblings get in trouble, we get in trouble too. This expectation of regret for their own well-spent youth, but with love. This face doesn’t responsibility is good preparation for life, or at least life in the middle display the mixture of grief and joy that we see on the father; rather, it’s ranges of academic administration. all happiness. However the Older Sibling might react later in the story, at this moment, Rembrandt shows us their initial response: generous, You can probably guess by now why this story troubles me so. We’re all joyful love. meant to identify with the prodigal, of course; and who can resist the lost child returning to the benevolent father, who welcomes us with Prayer: Heavenly Father, thank you for your abundant unconditional open arms? As a metaphor for the restorative healing of divine love or love for all of your children. For joyously welcoming us home. Help us as a description of generous parenting, we want to relax into the warm, to always extend the same grace and love to others. welcoming embrace this story offers us.

Clearly, Rembrandt wants this too. The Prodigal’s neediness is apparent; his clothes are in tatters, his shoes are barely functional; his only possessions are a walking stick, which he’s dropped, giving up his wandering life, and a small dagger that reminds the viewer of the violence and danger of prodigality. This young man has seen the world, Witness someone to stay awake with us for a little while. So, I think we can relate to Jesus, and Jesus can relate to us about the need for witness and Dr. Stanley T. Wearden affirmation. But I also think we have all been those disciples at times in President our lives, at least I know I have. I know there are times I have failed the simple act of witness for my friends and others. Then he said the them, “I am deeply grieved, even to death; remain here and stay awake with me.” (Matthew 26:38 NRSV) Not only do I believe that the need for witness is fundamental to the human condition in order to have our very existence validated, but I believe this is something that can only happen inside the interactions between human beings. We can only do this for one another. We cannot do it alone. And for me, that is part of what is at the heart of this Gospel story and of Rembrandt’s etching. It shows both the desolation we feel without witness and the carelessness we sometimes exercise when we fail to offer witness to others.

But, there is another image in the etching, that of the angel. To my eyes, Jesus does not appear to be fully aware of the angel’s physical presence. Jesus is looking downward and looking alone. I’m not sure I myself would recognize an angel, at least in the moment. I know they are depicted as human beings with wings, but I think that’s more about symbolic iconography than it is about a literal depiction of reality. However, in a more abstract sense, at least for me, I think of angels as representations of God’s gift of grace. So, even if Jesus’s friends weren’t able to be there with him, he was being witnessed by God’s grace, even if he didn’t fully feel it or recognize it in that moment.

Life is suffering. And for all of us, large elements of that suffering must be faced alone, even if friends are present and awake. But this etching and the Gospel story that inspired it remind me of my very basic The Agony in the garden, 1652, etching and drypoint human obligation to give witness to others. I cannot solve the problem of loneliness in the world or even among my friends and family. But I Of course, we know the rest of this story. Jesus went a short distance can make a better effort to be there for other people, to say to them, “I away to pray and came back to the three disciples, ostensibly his friends, see you. I see that you are suffering. I see that you are afraid. I see that three times, finding them asleep every time in his hour of need. The you are trying hard. I affirm your existence and your worth as a human etching captures this powerfully. In the middle ground, we see Jesus being.” And if they are open to hearing it, I can also tell them, “Even being comforted by an angel. The Gospel of Luke says, “Then an angel when I fall asleep on the job of being your friend, know that God’s grace from heaven appeared to him and gave him strength” (Luke 22:43 is with you, giving witness to you simply for being who you are.” NRSV). In the foreground, we see the disciples, who appear to be very soundly asleep. I find this etching poignant and relatable, in no small Prayer: Present God, thank you for the great cloud of witnesses that part because I see myself – and all human beings – as having been at see humanity and affirm our existence and worth. Amen. times in the role of the apostles and at times in the role of Jesus.

Two words have become prominent in my thoughts lately: witness and affirmation. When you look at Maslow’s Hierarchy of Needs, you see that the three needs at the top of the pyramid are self-actualization, esteem, and love and belonging. But I have been thinking lately that we cannot achieve any of these needs in a vacuum. They all need human connections to become both real and meaningful.

So, regarding the word “witness,” I have come to think that being witnessed is an even more fundamental need than the ones listed at the top of Maslow’s pyramid. I think the desire for witness is why so many people post very intimate things about their lives on social media. We all need to be noticed, recognized, affirmed (my second word). We all struggle at times with a sense of forsakenness. We want to cry out, “God, universe, friends, family, I am here, and I am trying, and sometimes I feel overwhelmed by the challenges I face!” We want our right to be here and our worth to be affirmed.

Jesus was in agony because he knew a painful death was imminent, and he was having trouble connecting with his father. But his agony also stemmed from the emptiness he felt in having friends who slept instead of offering witness and affirmation. And we see that emptiness in the etching. Jesus appears to be alone in a vast space.

I think we have all felt something of what Jesus felt, at times in our lives. We have had times when we just wanted to be noticed. We just wanted “Self-Portrait with Saskia,” 1636, etching by Rembrandt “Self-Portrait

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September 11 - November 18, 2020

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