Energies of the Labyrinth

art, change, Chartres Cathredral, coronavirus, Creativity, Faith, garden, greek myths, Imagination, labryinth, Meditation, pandemic, Reflection, Spirituality, Travel, vision

The word labyrinth comes from the Greek labyrinthos and describes any maze-like structure with a single path through it. It’s different from an actual maze, which may have multiple paths intricately linked. Etymologically the word is linked to the Minoan labrys or ‘double axe’, which is the symbol of the Minoan mother goddess of Crete. The actual word is Lydian in origin and most likely came to Crete from Anatolia (Asia Minor) through trade. Labyrinths and labyrinthine symbols have been dated to the Neolithic Age in regions as diverse as modern-day Turkey, Ireland, Greece, and India among others.

Labyrinths or mazes may have served to help the ones who walked them to find their spiritual path by purposefully removing them from their common understanding of linear time and direction between two points. As one traveled through the labyrinth, one would become increasingly lost in reference to the world outside and, in doing so, might unexpectedly discover one’s true path in life.

On New Year’s Day, I was reading my Twitter feed and came across this image of a seaside labyrinth. The comment was, “My #oneword for 2021 is downwind. After walking the labyrinth today with turns both against & with strong wind, I realized how limitless 2021 can be with the help of those who push me forward and not the wind pushing against me. This year, I’ll ride the momentum downwind.”

Twitter photo—My #oneword for 2021 is downwind

The theme of the labyrinth leading to one’s destiny is intricately linked to the Greek myth of Theseus and the Minotaur. The Minotaur lived at the heart of the labyrinth on the island of Crete, whose king required the people of Athens to send a tribute of fourteen youths annually. Once they entered the Minotaur ‘s labyrinth, they never returned. Theseus defeats the beast and saves his people, but loses his father to suicide because he fails to remember to change the color of his sails on his return trip as a sign of his victory. There’s even more dysfunctional family relationships, but that’s a story for another day. Suffice it to say, the ancient gods were wont to interfere with the lives of arrogant humans who failed to defer to the gods and instead acted as if they were masters of their own destiny.

Theseus and the Minotaur: Attributed to the Tleson Painter, ca 550 B.C., Attic Black Figure Kylix, Toledo Museum of Art, Toledo

Greek tragedy deals with the sweeping themes of love, loss, pride, the abuse of power and the fraught relationships between humanity and the gods. Typically the main protagonist of a tragedy committed some terrible crime without realizing how foolish and arrogant she or he had been. After slowly realizing the error, the world crumbles around the hero. The tragic hero must be essentially admirable and good. The fall of a scoundrel or villain evokes applause rather than pity. Audiences cheer when the bad guy goes down. We feel compassion for someone we admire when that character is in a difficult situation. The nobler and more admirable the person is, the greater our anxiety or grief at his or her downfall.

This idea survives to this day in the proverb, “The bigger they come, the harder they fall.” In the 5th C BCE, in the founding work of history known as the Histories of Herodotus, we find the statement: “It is the gods’ custom to bring low all things of surpassing greatness.” An earlier expression, “Pride goes before destruction, and a haughty spirit before a fall,” is found in the Proverbs (16:18). These date from 700 BCE to the fourth century BCE (1:1-9:18).

In a true tragedy, the hero’s demise must come as a result of some personal error or decision. The tragic or fatal error, or fatal flaw of the protagonist that eventually leads to the final catastrophe is known as hamartia, or missing the mark. It’s a metaphor from archery, and literally refers to a shot that misses the bullseye. There’s no such thing as an innocent victim in a tragedy, nor can a genuinely tragic downfall ever be purely a matter of blind accident or bad luck. The tragic hero must always bear at least some responsibility for his or her own doom. In Greek tragedy, the gods may interfere, but they don’t determine our destiny. Likewise, human events and actors may put detours across our path, but though the gods may intervene on our behalf, we can still snatch defeat from the jaws of victory in a true Greek tragedy.

Theseus killing the Minotaur of the Cretan labyrinth. Ariadne, possibly, looks on from the right. Attic black figure vase, Late 6th, early 5th century BCE. (Archaeological Museum, Milan).

The labyrinth is a symbol for change, for it’s the place of transformation. In the myth, Theseus must enter a maze no one knows how to navigate, slay a flesh eating monster, and return to the world above. Theseus accomplishes this, but still retains his youthful flaws until he is changed by his father’s death and he’s forced to grow up and assume adult responsibility. His experience in the labyrinth offered him an opportunity to change and grow but, like many people, Theseus resisted until change was forced upon him.

The medieval labyrinth is a unicursal labyrinth, with a single, circuitous but clearly delineated path. It’s an image encompassing both shared and individual experience, for we don’t walk the path alone, but we share it with fellow travelers. The unicursal labyrinth is distinguished from a multicursal labyrinth (or maze) by having only a single (though winding) path to its center. While a maze may have little or no symmetry and may not even have a center, a medieval labyrinth usually has both. The great medieval labyrinth on the floor of France’s Chartres Cathedral is one of the most famous unicursal labyrinths.

Chartres Cathedral Labyrinth from Above

Carl Jung, the famous Swiss psychologist, saw the similarity between medieval, Christ-centered mandalas in manuscripts and rose windows, the mandalas of his patients, and the mandalas he created. Jung believed his own mandalas “helped him maintain his psychic equilibrium” and believed “everything points toward the center,”so that he found “stability” and “inner peace” even during the war era.

Jung: Mandela

Medieval labyrinths, and all their variations, including the classical design of which the medieval style is an outgrowth, now appear across the United States in settings ranging from churches and parks to hospitals and museums; they may be painted, tiled, paved, woven into a carpet, constructed of canvas, or cut into a lawn. They’re usually designed to be walked on. Over the last quarter century, the medieval labyrinth has entered public consciousness as a “blueprint for transformation” rather than “an oddity,” as it was at one time. I can remember at least one of my fellow clergy asking if “this wasn’t so kind of new age hooey I was getting into.” Moreover, labyrinths aren’t limited to meditative and ritual use; they also appear in secular and recreational settings and are often noteworthy for their ornamental or artistic value.

Lavender Garden Labyrinth

While each one of us walks the same path, no one has the same experience on the labyrinth. We’re all on the same journey, but we’re traveling on a different part of the path. We entered at a different time, or we came to the labyrinthine journey at a different period of our spiritual journey. Some of us will move slowly, while others will hustle along the way. If we came with troubles and worries, we may have been looking for THE ANSWER. The labyrinth isn’t a one armed bandit. We don’t put our money in, pull the handle, and get a payout. The walking is instead an opportunity for reflection, a time to give our selves to the service of God, and set aside our pride.

We enter into the community of faith on the path

I’ve walked on the labyrinth on different occasions and had different experiences, since I’ve been “residing in different inns along my spiritual journey” during the years as I make my rounds about the sun while I live on this planet earth. I’ve been to the holy land twice, and been to Greece and Turkey to walk in the footsteps of Paul to see the churches he planted across the Mediterranean. I spent a summer in Italy during art school, while living in a small town and taking field trips to see the historic sites nearby. I took an interterm during graduate school to visit London and visit all the museums I could devour in that short time, along with some excursions to the seaside. Still, I’ve yet to see Stonehenge, and I’ve not seen Paris.

The question is, do we walk the labyrinth as a tourist going to a destination, expecting to stamp our passports, bring back photos, and buy souvenirs, or do we go expecting to meet Christ along the way? On the tour groups, folks sort themselves fairly soon into subgroups. The ones who want to go quickly to the site, give it a once over, take a few photos, and hit the souvenir shops before they have a coffee or a drink, will find each other and share their daily haul as they relax and wait for the stragglers to roll in. The stragglers come in two groups: the ones who took their time, and the ones who took the wrong turn and got lost. Thankfully, I didn’t get lost as I often do here at home! My notorious ability to take the wrong turn and my poor map reading skills are legend. The virtue of group travel is we leave no one behind.

While each person enters the labyrinth alone, others may also be on the path also. When we meet another, we perform a silent dance of giving way, first one to another, then the other to the one. Two can’t be in the same lane at the same time, but we can “dosie do” to let one another pass on by. This is life in community, where we share the spaces and the journey. When we walk the path of the Labyrinth, we enter a space/time/continuum. This is where up/down, left/right, and forward/backward all exist in one time dimension. Time passes differently inside the Labyrinth, for the twisting path appears to take us first directly toward the center, but just as we approach it, we are forced to follow the path directly away from the center instead. Then we wander around the outer edges of the labyrinth until suddenly, we arrive at the center. If we think we’ll never reach the promised land, we’ll find ourselves suddenly cast upon its shores as a Jonah spewed from the belly of a big fish. What seems like three days of darkness in a labyrinth may only be thirty minutes. Clock time gives way to God time on the journey.

Energies of the Labyrinth

Thus we enter into the timeless paths of all the pilgrims walking before us, those who never made their way to the holy land, but found the holy in the land in which they lived. The labyrinth has a way of uniting all the time of the past, the future, and the now into one dimension. In this way, when we walk the labyrinth, we enter into the kairos time of God, as opposed to the chronos time of humanity. No longer are “on the clock,” but we walk in the appointed and opportune time for us to experience the holy.

If we’re surprised, and emotionally disconcerted as we walk these twisting paths, it’s because we discovered we had no control over how soon we could get to our destination. We can stay in the center and be humbled by this awareness, but often we act like tourists instead. We get our passports stamped after an appropriate rest, and head back home. As heroes who’ve been to the center, we journey back to the outer world as changed people, ready to bring new truths and understanding back to the world. If we are like the Greek heroes of old, however, our tragic flaw will be living for ourselves only and forgetting to do good to all.

The energies of the labyrinth aren’t self-contained to the paths or to those who walk it. It is a holy space, so like the energies of space time, in which space and time are relative, observations depend on the viewer’s speed. If we rush through the labyrinth, we don’t have the same opportunity to meet Christ on the road to Damascus, as Paul did, and have an opportunity to change our lives. We need to drag our feet a bit, as the grieving disciples did on the road to Emmaus, so we might have the privilege of recognizing Christ in the central act of blessing the bread when they invited him to stay with them at the end of the journey.

The hurried life isn’t for the contemplative person, so even those whose lives are given over to getting many things done can benefit from a quiet time now and then. Otherwise, we can become the heroic Theseus who depends upon his own power, rather than giving credit to the powers of the gods, for all his great deeds. This is why his arrogance and pride is his undoing, even though he had a transformative experience in the labyrinth. Not until much later did he process this experience and grow from it.

When I began my painting, I started out with the actual forms, in homage to the many walks I’d participated in over the years. Soon I thought of burying the image, and uncovering parts of it, as if it were an archeological dig in process, but I only buried the outer edges. Then the idea of energies of the innumerable pilgrim walks percolated up into my consciousness and I began to paint the intersecting colored arcs. While I lost the paths, I was painting my emotional experience of the walking. I’ve been on quite a journey this past year, even though I’ve gone nowhere, due to the covid pandemic. Confined to home, I’ve longed to journey elsewhere, but the labyrinth is a journey anyone can take safely without fear of a monster who devours human tributes. I’m looking forward to the new year and new works, and perhaps some actual journeys. God bless everyone. Thanks for reading this.

Joy and Peace,

Cornelia

Labyrinth – Ancient History Encyclopedia by Joshua J. Mark
https://www.ancient.eu/Labyrinth/

Elements of greek tragedy and the tragic hero
https://www.slideshare.net/cafeharmon/elements-of-greek-tragedy-and-the-tragic-hero

Mary Hackworth—“The One and the Many: The Significance of the Labyrinth in Contemporary America,” Journal of Jungian Scholarly Studies Vol. 9, No. 3, 2014
https://jungianjournal.ca/index.php/jjss/article/download/44/37/74

The Labyrinth Society: The Labyrinth Society: Directions to Make a Labyrinth
https://labyrinthsociety.org/make-a-labyrinth

How to Make a Canvas Labyrinth for $200
https://pinkpaganpriestess.wordpress.com/2012/11/30/how-to-make-a-canvas-labyrinth-for-200/

Histories of Herodotus
https://www.gutenberg.org/files/2707/2707-h/2707-h.htm

What is Space Time?
https://www.livescience.com/space-time.html

Welcome to My World

adult learning, architecture, art, Creativity, Habits, Imagination, Painting, shadows, vision

The Physician

I’m currently reading Noah Gordon’s The Physician, the story of a Christian masquerading as a Jew so he can study in the ancient medical school in Persia during the Middle Ages. Authors have to describe their characters and the world they inhabit in order for the reader to imagine a realistic place, even if the location could only exist in the imagination. I find this book a great escape from the histrionics of the recent news cycles.

An artist who wants to render a three dimensional scene on a two dimensional surface has the extra challenge of learning a new visual language to describe the scene. Drawing in perspective is a brand new way of seeing and rendering a multidimensional world on a flat surface so the appearance of depth and solidity is realized. In some paintings, the artist’s style of painting depicts objects with photographically realistic detail. These works can “fool the eye” of the viewer.

The realism of Gerrit Dou’s “The Doctor” allows us to see the portrait of the physician through a window niche. The bas relief sculptural rendering on the wall is partly covered by a luxurious rug, on which a burnished copper dish rests. The window behind the Doctor adds a back light, but he uses the primary light from the niche opening to observe the liquid in the specimen container. His assistant is in the dimmer light of the background. We are looking through this window and watching him pursue his calling.

In other art works, the “realism” isn’t so much concerned with photographic accuracy, but with the emotional experience of the space rendered. The Scream, painted in 1893 by Edvard Munch, uses classical one point perspective to introduce the sensation of depth with the bridge. The two people walking away balance the one facing forward, who screams from the gut. The colors and shapes of the landscape are emotional reflections of the interior, psychic experiences of the screamer.

The Scream

In art class last year, we had several lessons on perspective. Most students, no matter what their age, dislike these basic lessons. They want to jump right in and learn to paint a still life, figure, landscape, or a building. Unfortunately, if they jump over these basic instructions in drawing, they struggle to set a form in space or have difficulty getting the proportions of the objects correct in relation to eschew other. Art school students usually have have an entire semester class devoted to the multiple forms of perspective. I remember drawing the overhead pipes, book shelves, the corners of rooms, and anything else that had a vanishing point.

Black and White Sketch of Geometric Figures

Perspective teaches us how to see by eliminating the extraneous and unnecessary information and concentrating instead on only the simplest and essential forms and lines. We can hold our paint brush handle up to the objects to measure them. This helps us know if the cone is twice the height of the cube, or 2.5 times. When we lay in our first sketch in a pale yellow wash, we don’t worry if it isn’t exact, we can adjust it with the paint. Why don’t we draw it in pencil? This tool tends to confine our creativity, since we’re used to small movements for writing and filling in correct answers from our school days. It has an eraser, so we struggle to get it “right.” Then we don’t paint with our hearts, but mechanically fill in the lines of a paint by number design.

Last week I was sick, and when I came back from the dead, others were down for the count, working the polls, or working in the salt mines. Gail and I were the only ones in attendance. She’d had the benefit of doing this lesson before, so I suggested we take the setup as a springboard for our imagination. We looked at some modern architecture, which depend on geometric forms for their design interest. One that caught our eye was a simple stacked design of rectangular blocks in a smoky atmosphere: Charles Willard Moore’s “Late Entry to the Tribune Tower Competition, Perspective,” 1980.

Moore: Tribune Tower Entry

When we got busy painting, I put on Dvorak’s New World Symphony, since we were creating a new world for our new buildings to inhabit (the link below is to you tube, if you want to listen along). I also ate a few Girl Scout Samoas, since I bought several cookie boxes from Gail. They reside in the freezer now so I don’t eat them all before Easter. I’m sure Gail can supply you if you want cookies.

While painting, I often lose track of time, perhaps because I enter into this “other world” of my creation. I focus on the image I see and the image I paint on the canvas. My problems fade away, for all I can think about are how to bring the form closer to the foreground: do I need a lighter, brighter color or do I need to change the direction of my brush stroke too? I may need to darken the shape behind or the shadow below it to best evoke the depth of space. Sometimes just a line across the back is enough to set the objects in space, but if we’re trying to build a new world, we might have to indicate some form of landscape.

We talked about the science fiction movies which invent an entire language complete with syntax and vocabulary for the various peoples and architecture suitable for their worlds. If we lived on a planet of crystalline structures, we’d always see the individual parts of white light. Then we’d be people who analyzed the world about us and looked for multiple meanings in the simplest of sayings. If we lived on a hot desert world, we might yearn for cool, dark places, so caves would be our preferred dwelling places. There’s a home for each person, for as Jesus reminded his disciples in John 14:2—

“In my Father’s house there are many dwelling places.
If it were not so, would I have told you that I go to prepare a place for you?”

What is real, you ask, and what is true? What comes from the heart and mind of the artist is real and true. It may not be of high quality, but proficiency comes from putting your true self into your work, without holding back. As the hand gains competence, the heart and mind have to struggle to remain true to the unique person who creates the work. The great danger is we become proficient at pleasing others for the sake of fame or fortune. Then we make pretty pictures, which will decorate walls and match furniture, but we may not reach the depths of the human heart and emotion required to produce lasting works of art.

Martian Landscape

None of us in our art class are here for fame and glory, yet we are progressing as the weeks go by. I like the rich texture of Gail’s Martian landscape and the red dust filled atmosphere of her painting. The odd geometric shapes look right at home on the extra planetary body. My landscape has a spring fondant look of a non-Lenten pilgrimage hostel or BNB. If anyone wants to journey elsewhere, the road is open before us, and is limited only by our imagination. Art class is where we let our minds stretch to consider the impossible and then create a structure to take us there. This is why VISION, HOPE, and OPTIMISM are also part of the artist’s toolbox.

Unfinished Fondant Landscape

Trompe-l’œil Painting
https://jhna.org/articles/gerrit-dous-enchanting-trompe-loeil-virtuosity-agency-in-early-modern-collections/

Gerrit Dou, The Doctor, 1653, oil on panel, 49.3 x 37 cm. Kunsthistorisches Museum, Vienna, inv. no. GG 592. Photo credit: Erich Lessing / Art Resource, NY (artwork in the public domain)

Edward Munch: The Scream
https://www.edvardmunch.org/the-scream.jsp

Dvorak: New World Symphony
https://youtu.be/Qut5e3OfCvg

THE SEASON OF LIGHT

art, Christmas, dark matter, Faith, Fear, Hanukkah, Healing, holidays, Icons, Imagination, Meditation, Ministry, mystery, nature, New Year, renewal, salvation, Spirituality, Stonehenge

Hand painted Ceramic Christmas Tree

As the days grow short, some of us yearn for the light. This week I put up a few Christmas decorations, including my ceramic Christmas tree with the plastic bulbs from the 1960’s and my door wreath with ornaments from the 1950’s. I have a copper and paper manger scene I set before a small lamp, as well as an extremely gaudy, glitter filled candle nightlight to complete the mood. I keep out all year round my mom’s ceramic Holy Family group, since it’s too good to put away.

I remember living in Denver, Colorado, in the cold, dark days of December. They know how to do winter there. I would hang the big, bulging colored bulbs on the upstairs patio of our Victorian duplex, since these had the brightest light. In Louisiana, I used the tiny white lights to discretely outline the entire shape of my little stucco home. They both put out the same amount of light, but some were loud and others were quiet.

Stonehenge

Winter Solstice
Here at the tail end of the old year, the winter solstice comes on December 21, followed by Hanukkah beginning after sunset on December 22, and Christmas on December 25. All of these events have a focus on light.

The solstice happens at the same instant for all of us, everywhere on Earth. In 2019, the December solstice comes on December 21 at 10:19 p.m. CST.

That’s on December 22 at 04:19 Universal Time (UTC). It’s when the sun on our sky’s dome reaches its farthest southward point for the year. At this solstice, the Northern Hemisphere has its shortest day and longest night of the year.

The World Heritage Site at Stonehenge, England, built about 5,000 years ago, is a site specifically built to mark the winter and summer solstices. For agricultural societies, this was important. It may also have been a religious site, connecting the living with the spiritual powers for healing and also with those who are dead to this world, but remembered by the living. We don’t know if the Stonehenge people believed in an afterlife, but they did bury in the gravesites important articles the person found useful in this world, such as bone needles and mace heads.

Repurposed Jewel Menorah for Hanukkah

Hanukkah
Hanukkah, a celebration to mark the miracle of the unfailing oil in the temple lamps, has taken on greater importance in recent years. It recalls the victory of the Maccabees and their resistance against foreign domination. The word Maccabee is an acronym for the Hebrew words that mean “Who is like You among all powers, G‑d.” The Greek army had defiled the Temple by setting up an image of Zeus and sacrificing a pig upon the altar of God. Those Jews who were fine with this were “sold out” in today’s terms, but not the Maccabees, who were joined by a ragtag group who ran a fifteen year resistance effort against the skilled fighters of the Greek army.

Once the resisters reclaimed the Temple, they rededicated it, set up a new altar, and made a new menorah, for the old one had been taken. They found only enough sacred oil for one day, but the light burned for eight days. The message of Hanukkah is a little bit of light can overcome the darkness of the world, so we should never cower in the face of tyranny, do our part, trust in God, and success is sure to come.

Illuminated Manuscript of Menorah

Perhaps this is why we have an enduring fascination with superheroes, characters who overcome challenges in life, such as Harry Potter and the Star Wars pantheon, as well as everyday people who do extraordinary deeds when dire situations present themselves. Those who don’t shirk from the opportunity to do good for others, even at great cost to their own good, are selfless heroes. What doesn’t make sense to us, may be the most sensible and best choice for the greater good. This is the heart of the servant mentality, which is recognized by the central candle of the Hanukkah menorah, which has eight lights, instead of the seven which was used in the Temple.

Christmas
Christmas is the time to celebrate the coming of the light into the dark world, and the joy that the darkness cannot overcome the light. Every Christmas Eve, we hear the old story ever new in our hearts again.

Nativity of Christ with Angels and Shepherds

When my daughter was about ten years old, she looked over the church bulletin one Christmas Eve and said, “John, John, John, who is this John that has such a big part in tonight’s service?”
I whispered, “That’s the gospel of John, and the Mathew and Luke are also gospels in the Bible.”

“Oh, I missed that,” she smiled.
I chuckled.

In the beginning was the Word, and the Word was with God, and the Word was God. He was in the beginning with God. All things came into being through him, and without him not one thing came into being. What has come into being in him was life, and the life was the light of all people. The light shines in the darkness, and the darkness did not overcome it. ~~ John 1:1-5

Today we know dark energy and dark matter make up 95% of the universe, and all solid matter makes up the other 5%. In the ancient days, people thought God had made them the center of the world, but now science can make us feel small. Yet God still calls us into the dark spaces to shine like lights in the world.

We can look around and see, just as in the time of Christ’s birth, authoritarian leaders oppressing the minority members of their countries, and we see the rich and powerful controlling the economies of the world for their own profit, but not for the health of the planet or its population.

We see some of our leaders in the church unwilling to open their hearts to all of God’s children because the leaders live in fear rather than in the power of God’s love for all persons. We also see people of faith unwilling to take on the claims of a life lived in Christ, and so accept a mere testimony to the offer of the fullest life in Christ. A faith without works is a dead faith, or no faith at all, for there’s no evidence to convince the world we have a living faith. If we have the light of Christ in us, we will make our world a brighter and better place, and shine like stars in the world.

For it is the God who said, “Let light shine out of darkness,” and God is the one who has shone in our hearts to give the light of the knowledge of the glory of God in the face of Jesus Christ. ~~ 2 Corinthians 4:6

No matter how you’re celebrating the return of the light this season, may you find at this year’s end more light than darkness and may you shine more brightly in a world which needs so desperately the light of pure and unconditional love willing to risk its own self for the greater good of others. This is the reason Christ came into the world, to serve the Father’s purpose and redeem the fallen and broken world, for all who believed.

MEDITATION ON THE LIGHT
Proverbs 20:27
“A person’s soul is the Lord’s lamp, which searches out all the innermost parts.”

First century oil lamp

Focus the mind on the multiple images of the lamp, the oil, the wick and the different hues of the flame, in order to understand the profound guidance in the divine service of every individual.

Flames demonstrate that while spiritual endeavors such as contemplative prayer and inner personal transformation are important, nonetheless the actual performance of mitzvot (the 613 commandments) is what is most essential. It’s practical deeds that keep the radiance of the soul kindled upon the body, acting much like the oil that fuses flame and wick.

Takeaway: It’s practical deeds that keep the radiance of the soul kindled upon the body—acting much like the oil that fuses flame and wick.

Questions for the eight candles of Hanukkah:

  1. For You, G‑d, are my Lamp; and G‑d will illuminate my darkness. The first question is: Why is G‑d’s Name invoked twice, seemingly bisecting the verse into two separate statements?
  2. What part do the lighter and darker colors of the flame play in our spiritual lives?
  3. What is the quality of our own light?
  4. Contemplate the divine radiance which fills all worlds, as well as the radiance which surrounds all worlds. Consider how we have both matter and dark matter/energy in our physical world, as a complement to the divine’s dual filling and surrounding of space. (Psalm 145)
  5. As the lights grow brighter in this season of light, is God’s love growing greater in our hearts?
  6. Is God’s love transforming our lives from the inside out, so God’s love can shine through us?
  7. The Hanukkah lamp has eight lights, plus one for the “servant” light. Is the energy of God’s love moving us to shed the light of God abroad in service of the least, the last, the lost, and the lonely?
  8. Where will we shine in the days to come, to be a light to the world and for the sake of God’s name?

NOTES AND LINKS FOR MORE INFORMATION:

Stonehenge: World Heritage Site:

https://www.english-heritage.org.uk/visit/places/stonehenge/history-and-stories/history/

Dates for Hanukkah:

https://www.chabad.org/holidays/chanukah/article_cdo/aid/103929/jewish/The-Eight-Days-of-Chanukah.htm

Everything you want to know about Hanukkah:

https://www.chabad.org/holidays/chanukah/default_cdo/jewish/Hanukkah.htm

NASA discussion on Dark Matter:

https://science.nasa.gov/astrophysics/focus-areas/what-is-dark-energy

Part of this comes from:
A Chanukah Discourse by Rabbi DovBer of Lubavitch
“THE SOUL OF MAN IS THE LAMP OF G-D.”

https://www.chabad.org/library/article_cdo/aid/63273/jewish/Flames.htm

The Inspired Church

architecture, art, Creativity, Easter, Faith, generosity, Historic neighborhood, Holy Spirit, Imagination, Ministry, Notre Dame de Paris, Painting, poverty, purpose, renewal, risk, Spirituality, vision

My newest painting is from a photo I took of a church in downtown Hot Springs on one cloudy spring day. It wasn’t much to look at as a photo, but I was called to stop and snap its image at that moment. I learned long ago in ministry to listen to those promptings of the spirit, for a greater power was working beneath my poor powers of discernment and knowledge. If I listened, I’d show up when people needed me, even when they were unable to contact me. God has a mysterious power to do unlikely works, or things we ordinary folks would call minor miracles.

THE INSPIRED CHURCH

Most of us see our churches as ordinary places, maybe even “our places,” rather than God’s holy place. This is why we say “my church,” but if we were truthful, we’d admit, no church ever belongs to any human being, for the church is the body of Christ. We also aren’t just one congregation either, for all these buildings comprise a greater Body of the greater Church, which is the Body of Christ. Plus, we who look to our membership rolls forget about the ones who are outside our doorsteps: the hungry, lonely, poor, wandering, naked, or the prisoners and infirm who are confined. They too are part of Christ’s body, which yearns to be made whole.

In my painting, this ordinary, grounded church now rises as a golden, ethereal structure striving toward the heavens. As a Inspired Church, it’s “going on to perfection.” While it won’t get there on its on account, God’s energies are there to help it, just as the spirit will help each of our churches to grow in faith and witness to the world. As I consider the pre Easter fire at the Cathedral of Notre Dame de Paris, I think of the cycles of spiritual growth both we and the bodies of Christ undergo. We all have times of growth and lying fallow, and some even seem to have seasons of rot. Yet God’s renewing spirit can make the dead bones live again.

Notre Dame de Paris

A Christian church has been in Paris since the 3rd century of the CE. This site has a history of both blight and renewal. Two ancient churches were destroyed to build the new gothic cathedral. These were built on the site of an old Roman temple dedicated to Jupiter. The work on the cathedral began in 1163 and was completed 203 years later. In 1789, French revolutionaries caused major damage to the building, especially the statuary. Nearly a half century later, publication of Victor Hugo’s The Hunchback of Notre Dame in 1831 sparked a campaign to restore the cathedral.

Although Notre Dame de Paris is a Catholic Church, it’s also a historic building. As such, the cathedral belongs to the state, which is responsible for its maintenance. Nevertheless, the day-to-day maintenance of churches and cathedrals in France often falls to cultural and religious associations. And just because the state is responsible for funding large infrastructure projects doesn’t necessarily mean it has the money to do it.

When the world watched the spire fall and the wooden roof collapse, a great sadness fell across people’s hearts. Immediately large financial pledges poured in to rebuild this architectural treasure. One of the blowbacks in the days of grief after the fire and the generous outpouring of pledges to rebuild this cathedral of hope, which is over 850 years old, was the reality of human needs. Soon folks said, “If we can raise this much money for a building, why can’t we raise it for the homeless, the hungry, the war refugees, and all the other human causes of need?”

Yes, these are important, and we should always provide relief for human distress. Great buildings, which have seen over eight centuries upon this earth, are a special case. They carry the hopes, dreams, and memories of each person who has ever entered their doors. With the advent of television and social media, they now carry the memories and dreams of everyone around the world who watched this great sanctuary burn and all their hopes for what it will become in the future.

When we cast a vision for our own churches, most of us aren’t facing a burned down edifice. Instead, we usually find a burned out congregation or a barely burning membership. Not many of us will stay in our appointments long enough to make “cosmic changes,” so we work to improve what we can, with the hope the next pastor will build on our work. In truth, it’s easier to redesign or renovate a building than it is to restore a congregation to health.

Currently architects are designing their best proposals for this spiritual heart of Paris and France. Some will “go big or go home,” while others will bring a more simple vision. Paris firm Vincent Callebaut Architectures’ vision for the cathedral is an innovative and eco-friendly design that supports the local population and produces more energy than it uses. Its vision of the rebuilt Notre Dame features a futuristic glass design, solar power, and an urban farm to support vulnerable and homeless Parisians.

Proposal for Interior of Notre Dame de Paris

Four years ago, an art historian used lasers to digitally map Notre Dame Cathedral. His work now could help save it. The Vincent Callebaut project is titled “Palingenesis,” a Greek concept of rebirth or recreation. The firm proposes a new roof made of glass, oak and carbon fiber, which connects “in one single curved stroke of pencil” to the sloping spire. The rooster which topped the original spire and retrieved from the rubble after the fire, will resume its watch from the new glass design, while the cathedral’s choir will be bathed in natural light.

Vincent Callebaut Architectures
Beneath the spire, the roof will host a fruit and vegetable farm run by charities and volunteers, in order to produce free food for vulnerable local people. “Up to 21 tons of fruits and vegetables could be harvested and directly redistributed for free each year,” the firm said in a press release. “To that end, a farmers’ market would be held every week on the forecourt of Notre Dame.”

Notre Dame de Paris


Vincent Callebaut Architectures
The roof and spire will also produce electricity, heat and ventilation for the cathedral: an “organic active layer” within the glass will provide solar power, while the roof’s diamond-shaped “scales” will open to offer natural ventilation — a design inspired by termite mounds. The spire will act as a “thermal buffer space” in which hot air accumulates in winter.

The cathedral could host an urban farm which produces food for local people. Credit: Vincent Callebaut Architectures

“How can we write the contemporary history of our country, but also that of science, art and spirituality together?” the firm said in a press release. “We seek to present a transcendent project, a symbol of a resilient and ecological future.”

If the Vincent Callebaut design is selected, the firm said, the reborn Notre Dame will define “the new face of the Church in the 21st century,” presenting “a fairer symbiotic relationship between humans and nature.”

This is so amazing, yet I wonder if the religious community will feel elbowed out of their worship space. I know one of the difficult challenges in church leadership is adopting new ideas because “we’ve never done it that way before.” On the other hand, helping this 14th century gothic cathedral rise from the ashes to a new birth is the perfect moment to claim an extraordinary vision for a forward looking future, not only for the church, but also for Paris, the French, and even the people of the world.

THOUGHT QUESTIONS

  • When we think about a new vision for our own church, are we willing to destroy the pagan temple and the god of its age?
  • When we build a church for an earlier time, do we have the faith to tear it down and build it anew for the age in which we live?
  • Do we hold on to an old form of church until it burns down and we need to create a new one from the ashes?
  • Will we have the courage to reconfigure our “idea of church” so it’s not a separation from the world, but an incorporation of the world, as in the Wedding Banquet parable?
  • Are we ready to entertain new visions and dream new dreams for our churches and our ministries?

https://www.washingtonpost.com/world/2019/04/18/france-separates-church-state-so-whos-responsible-notre-dame/

https://www.cnn.com/style/article/france-notre-dame-green-scli-intl/index.html

https://www.notredamedeparis.fr/en/la-cathedrale/histoire/historique-de-la-construction/