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For
She Is the Breadth of the Power of God
Jan
Neal, Curator presented
June 15, 2006 |
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The
Lamentation
by Peter Murtough
(Painting, 2006, 23" x 19")
Episcopal Church of
the Messiah - Santa Ana, CA
walkaboutdreams@yahoo.com
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The Madonna and Child is perhaps one of Christianity’s
most classic icons, portraying the pathos of motherhood
and the inherent defining moments of intuition and insight
a mother has for her child. In this classic style, is
the Virgin Mary able to “see” what lays
in store for her divine child; is the pensiveness on
her face indicative of the pain and sacrifice yet to
come?
Thematically, this is appropriate with: “For She
is the Breadth of the Power of God,” as well as,
“Love Astounding.”
My piece, “The Lamentation,” was inspired
and borne out of a recent event that impacted our entire
parish. One of our parishioners was married several
months ago…about 6 months into her pregnancy,
it went awry and her water broke…she was hospitalised
with immediate bed rest for two weeks in the hopes that
the infant would progress beyond the most critical developmental
stages and could then be delivered. Sadly, just moments
after the birth, and timely baptised, God’s hand
intervened and took the child into His firmament.
In the resulting memorial service, there was not a dry
eye…there was a picture of the mother there, holding
her infant son. Frozen on her contorted face was the
defining moment of acceptance…the defining moment
when all of her hopes and dreams and aspirations…her
deep love and pain all registered, and then came the
ululation.
As a parent, I am attempting to pay homage to this event,
as well as to all mothers who love and care from their
deepest core for their children. Because I am deeply
rooted in my Australian heritage, I have chosen to use
the repetition of Aboriginal “dot-art” in
conjunction with their motifs for mother and child.
The child in the womb-hands of the Madonna-mother is
the authentic U-shaped symbol used by the Aboriginals
to depict their offspring; the large inverted U-shaped
gold band of the halo immediately surrounding the face
of the Madonna is the same abstract; it is also repeated
in its smallest form within the middle band of red ground.
The colours are all-significant, and symbolise the inherent
grace of motherhood and the omniscient process of the
human condition: “For She is the Breadth of the
Power of God.”· The outer band with the
large green dots symbolise renewal, growth, and fertility.
Despite this tragedy, ever do we become renewed, even
in the passing of one’s soul. The purple ground
is for spirituality; for the healing that must take
place when we are facing a test of faith.
The middle band with its red ground and the
gold repetition symbolises the adult/child relationship
a mother has for her offspring…the red symbolising
the passion, the courage, and the love (“Love
Astounding” ), and the gold is the divine inspiration
and abundance of that matriarchal presence.
The inner band of large yellow dots symbolises
the faith one strives to possess in all things we are
tested by, against the blue ground of peace, truth,
and divine wisdom.
And again, the predominant gold band surrounding
the head of the Madonna, the Aboriginal symbol of mother,
is the divine inspiration, the abundance of that motherly
love and the everlasting connection to a Higher Power
to guide and endure one thru all of life’s trials
and tribulations.
That the icon here is predominantly shrouded in black
is of course by design, though the colour of which is
not so much a depiction of the tragedy, as much as it
is to absorb all that went awry; like the juxtaposing
of how dark clothes absorb the warmth and light of the
sun/Son. Thus, though the inherent pathos is evident,
the darkness of that moment is countered by the colours
and true light of divine intervention, subliminally
set off by the small white dots symbolising clarity,
vision, insight, and divine blessing.
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