Emmanuel, God with Us
When Nancy and I moved here from California in 2005, the parish we left behind was named Emmanuel (God with us). Has a nice ring to it this time of year, doesn’t it? Among the Arabic speaking people this word has been used since unremembered time as a prayer of longing for the God of All Creation to come and dwell with man (The “el”, or sometimes “al”, at the end of Emmanuel is one of the short forms of Allah). For the Jews, the word meant exactly the same thing, only their longing for the presence of God was manifested in the prophecies of the Messiah, who would not only “dwell” with them but “deliver” them as well. Christians use the word too, almost as a synonym for Jesus, who is regarded as the fulfillment of the Messianic Prophecies and the sign of “God with us”. In many ways Emmanuel, and the longing for relationship with God that the word implies, is at the very core of three faiths. Isn’t it sadly ironic that these same three faiths, all longing for God and sharing the same core belief, have been ripping out each other’s hearts for centuries? Our prayer this Christmas is that the unity of all of our longings for Emmanuel will somehow transcend our self-centered demand for uniformity of culture and practice. Amen
In Christ, Bill Robinson
Icon of the Feast of the Transfiguration by Br. Bill
To better understand the Icon of the Transfiguration, it might be helpful for us to have a short understanding of the nature of an “icon”, and why this particular graphic format is different from other types of religious artwork.
The word “Icon” is simply the Greek word for image, and “icons” consist of symbolic images of Jesus, Mary, all of the canonized Saints and, occasionally, the feasts and events of the church year (such as The Feast of the Transfiguration). They are usually painted on wood, or fresco, or done in mosaic, and they always illustrate portions of scripture. Icons are regarded by the major liturgical churches as “graphic scripture”. Like scripture, icons are said to be written rather than painted. By interacting with icons in prayer and contemplation, icons can become windows and doorways to a spiritual connection that one might not otherwise experience. This is similar to the icons on phones and computers. Interact with these icons by clicking, rather than prayer, and whole programs open up!
The three synoptic Gospels tell us that Jesus took the three apostles, James, Peter, and John “the beloved” and led them up a high mountain. There, as Matthew tells us, he was “transfigured into blinding light; both his face and clothing changing before their eyes”. Mark, in his Gospel, writes that “His face shown like the sun, and His clothes became dazzling white.” And again, Mark says that his clothes were “such that no one on earth could bleach them”.
In today’s Gospel, Luke tells us that the transfiguration took place while Jesus was praying. It is this comment that is depicted in this icon, where Jesus is raising His hands in prayer. Luke says, “While He was praying, the appearance of his face changed, and His clothes became dazzling white.” Then, before the eyes of the apostles, appeared the Old Testament prophets Moses and Elijah talking to Jesus. Then, if that was not already enough, a voice came out of a cloud and said, “This is my Son, the beloved. In today’s Epistle, written near the end of his life, Peter states “We ourselves heard this voice come from heaven, while we were with him on the holy mountain. So we have the prophetic message more fully confirmed.”
The icon we are discussing today is a symbolic representation of the event described in the Gospels. The composition of this icon follows a strictly symmetrical scheme. It shows a stylized mountain landscape, characterized by a central peak that is flanked by two lesser peaks. Jesus stands (or almost floats) on the central peak. He is clothed in a white and gold robe that appears to have dazzling light coming from within it. This is not sunlight. It is what students of theology refer to as the “uncreated light of God”-- a source of light, unlike sunlight or chemical light or electrical light that appears to come right out of darkness. Furthermore, He is surrounded by a gold and red boat-shaped image known as a “mandorla—the ancient symbol of the creator God. At Jesus’ feet is a round medallion showing an Agnes Dei—the Lamb of God, which is one of the earliest symbols for our Lord
Jesus is flanked by the two prophets. Moses is on His left (your right as you look at it), and Elijah on His right, each standing on his own peak. The image of Jesus is larger than the two prophets. This follows an iconic convention, which calls for the most important figure to be the biggest. Moses carries the tablets representative of the Law, and Elijah wears the “mantle of prophesy” that he passed on to Elisha before ascending to Heaven in the chariot of fire. Elijah’s mantle, or cloak, is described in the Old Testament, and in the icon it is shown as somewhat ratty. The same cloak is depicted in one of the stained glass panels at the back of our own church!
The three medallions at the bottom of the icon represent James, Peter, and John. Normally, the three apostles are shown as figures rather than symbols, but the round shape of this icon did not permit that design. The medallions, however, are accurate copies of the symbolic representations of these apostles that also appear in the stained glass windows at the back of our church. These designs have been a part of this church since its construction. So, even though the icon is new to this church, the symbols have design continuity with our whole history. James is symbolized by the three shells. After his martyrdom in the first century, James’ remains were moved to the village of Compostela in NW Spain, and the cockleshell became the symbol worn by pilgrims to his tomb. Peter is symbolized by the crossed keys. Jesus told him: “I give you the keys to my kingdom. James’ brother, John, is identified by the serpent in the chalice, which symbolizes his willingness to drink from the same cup as Jesus, and which leads to his death.
The Latin word for transfiguration, transfiguratio, means, “to be changed to another form”. The Greek word is metamorpheos and has much the same meaning. The Transfiguration, therefore, is a revelation of Christ’s divine nature, a manifestation of the Trinity, and a confirmation of the continuity between the Old and the New Testaments. This is shown symbolically by all of the white and gold lines that crisscross the image of Jesus and seem to come from within Him, rather than from an external source. This light is the central feature of this icon and was mentioned earlier as the uncreated light of God. It is a supernatural light with transforming power that has its source in God’s own being. It is the light that Jesus Himself speaks of in John’s Gospel when He says “I am the light of the world. Whoever follows me will never walk in darkness but will have the light of life.” As Jesus becomes that light, his true nature is revealed. As Paul says in his letter to the Colossians, “For in Him the whole fullness of the Godhead dwells bodily.
Today’s Gospel account of the Transfiguration also serves as a very early recognition of the Trinity. The disciples hear the voice the Father, they see the Son, and they were enveloped by the Holy Spirit in the brilliance of the uncreated light. They also witnessed Moses and Elijah, who represented the “Law and Prophets”, and who confirmed that Jesus fulfilled the Messianic prophesies of the Old Testament. Thus, the God they had served so faithfully for so long, without actually seeing, could now be seen and spoken to face to face. Here, in the blinding light on the mountain of the Transfiguration, prophets and the disciples were able to witness God’s personified radiance directly.