Return of the Prodigal Son

The role of visual art as more than just image is often dismissed in today’s fast-paced, unreflective culture.  As can be seen from Henri Nouwen’s writings, Rembandt’s Return of the Prodigal Son is not to be relegated to hanging on a wall for visual appreciation, but it is a call to self-reflection and repentance. The fact that Nouwen’s life was so changed not just by a painting, but by the implications and theological teaching of a painting is thought-provoking and inspiring.  Good art is capable of teaching truth.

What stuck with me most about the beginning chapters of Return were Sue Mosteller’s advice to Nouwen: “Whether you are the younger son or the elder son, you have to realize that you are called to become the father.”  As I read, I was considering which role fit me more: the rebellious, adventurous child, or the haughty, jealous, self-righteous older brother?  Nouwen’s friend brought up an important point; while Christians often think about their faults, which sins they might be committing, what kind of rebellion in which we might be taking part, it is easy to forget that the purpose of such self-reflection is to strive to become more like the Father. 

I find it somewhat difficult to identify with a son becoming like a father, though, because it is such a masculine image.  I do not really want to take on a role or character like a father as Nouwen talks about, but perhaps the call to spiritual maturity can be heeded nonetheless. 

The Heart of the Artist: Managing Emotions and the Spiritual Disciplines

It seems that a lot of Rory Noland’s message for artists is actually for all Christians. The topics of jealousy and envy, leadership, and spiritual discipline can apply to most believers. Even the topic of moodiness is not just for ‘those artsy types.’ Although managing emotions is especially important for artists, I found that this really focused on stereotypical artists who are in a state of chronic melancholy. I think that this image is not as true as most people, perhaps even Noland, might think. A lot of artists are as emotionally well-balanced as the average person.
I appreciate the point that Noland makes with the last chapter of the book about the role of spiritual disciplines in the lives of artists. Since every part of a person’s life is affected by their relationship with God, one’s ministry will be lacking if ‘quiet time’ with God is being neglected. In the same way, an artist’s art will suffer if they are neglecting their spiritual disciplines. What are the implications of this information for gifted non-Christian artists? Is “Christian” art actually better in some ways? How would Andy Warhol’s cutting-edge pop art be different or improved if he had been a Christian? This point could be used to say that Christians use God as a crutch for their creativity, while non-Christians are able to pull inspiration up by themselves. Nonetheless, I agree that my personal art probably contains much more depth when I am keeping up with my devotions.

The Heart of the Artist: Constructive Criticism

What was most striking to me from the first half of “The Heart of the Artist” was Rory Noland’s treatment of constructive criticism. He points out that artists are often very sensitive about their work and that there is a level of vulnerability about artists when they create or perform. Often, when artists receive constructive criticism, they are hurt or resent the input. This is very applicable to me because in displaying my visual art, I expect purely positive feedback. It’s a little different than Noland’s description of musicians; while they can make mistakes as they perform, I can rework a piece until it reaches my standards before anyone ever sees it. When people critique my work, I often dismiss it thinking, “They know very little about art and have no visual interpretation skills. Why should I listen to them?” However, this is such a prideful, self-protective approach that likely hinders my growth as an artist. Perhaps feedback from people who do not participate in visual art could have better insight in some areas than those who do because they are able to point out communication flaws and misunderstandings. I need to honestly listen to constructive criticism and use it to grow as an artist.

Symbols of Advent and Liturgical Services

One thing I’ve never taken notice of is the different ‘Christmas’ seasons of Advent, Christmas, and Epiphany. Use of the symbols discussed in the text could enrich believers’ experience when celebrating Christ’s birth. Although we use an advent wreath every year at church, the meaning of the colours of the candles has never been explained. Out of all the candles, I only remembered that there was a Christ candle. It seems that the meanings of some traditions at Christmas are not always explained well. I like that there are many untapped symbols that could add visually to some aspects of community celebration of Christmas. For example, the Advent rose and the Jesse tree could be very interesting and beautiful icons used in multimedia presentations or liturgical art.
Another topic discussed in the text was the order of liturgical services. I visited a Greek Orthodox church last year with no foreknowledge of that type of structure, or knowledge of the Greek language, for that matter. Although Klein does not discuss Orthodox services specifically, seeing an order of similar services helps to make sense of that experience.

Worship Without Words: The Symbol of the Cross

Although I am passionate about visual arts, I come from a visually illiterate background. My church is comprised of mostly Mennonites who do not use aesthetics within architecture, decoration of church buildings, or corporate worship. In fact, more conservative Mennonites believe that the use of visuals is very ‘worldly.’ Therefore, it surprised me that there is such depth beneath the symbols used in traditional and ancient churches. The discussion of the different designs of the cross especially revealed to me the importance of attention to detail in symbols. I thought the variations of the cross meant the same thing; they always point to Jesus’ redemption of the world. However, not only does each alteration indicate a different aspect of salvation and faith, but the cross is most definitely not simply an Easter symbol. As Klein points out, the cross is meant to be a shocking, sorrowful icon comparable to a noose or electric chair. Instead, it is now an image that carries very little meaning apart from being a nice charm on a necklace. Perhaps a way to revive the full impact of the cross is to incorporate a variety of designs of crosses in liturgical art and to explain their meaning.

Plan For Learning

The focus of my goals for the course Arts & Symbols in Christian Worship is to learn how to practically apply the use of visual arts in the church. I plan to learn this by selecting it as the topic for my individual presentation and gleaning information for this project from not only relevant books and articles, but also from churches and local artists who put visual art to use during services.