We have seen the Creator as Light and the Spirit as Light,
guiding with light the whole creation.
–– Byzantine matins, Feast of the Transfiguration
One senses something more than the natural…What these paintings seem to depict is not so much discrete things – trees, fields, figures, buildings – shown in particular configurations – but something that subsumes or, in potentiality, contains them.
––Museum label for a George Inness survey at the San Diego Museum of Art (2004)
I took my photograph of wintry pines forty years ago while cross-country skiing in Grand Teton National Park. I had stopped to contemplate the grove with its sense of mysterious depth, all those vertical lines receding into an infinity my eye could not penetrate. I felt the pull of whatever lies behind the components of the visible: the “something that subsumes or contains them.” It seemed an intimation of whatever lies beyond the self and its constructions.
The photograph became my Christmas card that year, with these words written on the back:
put yourself in its path
In this season of Epiphany (“manifestation”), we are invited to consider the possibility that the Transcendent desires to be seen. And when we are receptively attentive––and unhurriedly patient––we may discover the world to be a theater of divine showings and human awakenings.
Even in a world of “dull” and “prosaic” facts, said Emerson in an 1838 lecture, “the aroused intellect finds gold and gems in one of these scorned facts, then finds that the day of facts is a rock of diamonds, that a fact is an epiphany of God, that on every fact of his life he should rear a temple of wonder and joy.”[i]
Every year, every day, every hour of our lives offers its epiphanies. Leafing through old journals for some memorable examples of my own, I came across some passages from a European grand tour in the 1970s, a few years before I photographed the snowy Teton pines. My older self might want to tame some of the exuberant excess in the writing, but I still recognize, and do not regret, the intensity of that young man’s wonder.
An epiphany has been called “a moment when . .. consciousness finds itself flooded, or breathed into, or simply filled by a force . . . that comes from outside the self and is incorporated into the soul of the recipient.”[ii] My first direct encounter with the collection of J. M. W. Turner paintings in London’s Tate Gallery felt like that. This is how I wrote it down at the time:
Having seen most Turners only in reproduction, or in the vivid descriptions of [19th century critic] John Ruskin, I was not fully prepared for the ecstasy, the overwhelming somatic experience, of viewing the actual paintings. The three large Turner galleries were a temple of light, each framed canvas a window into a universe of radiant splendor. The early paintings showed his classical lineage, the formal narratives, but it was not long before his clear shapes began to waver and blur in the universal solvent of a liquid light. It was not a failure of drawing but the birth of new vision.
Some of his sunsets and storms engulf recognizable forms, almost to the point of abstraction, yet they remain anchored in real perception, aspects of the created world which registered in the artist’s here and now. In “Interior at Petworth,” golden light, turbulent and thick, pours through the windows like water from a burst dam, tearing through the staid Victorian inner space to submerge everything in its radiance. How did Turner come to see a world so alive with animating energies? Was this light within his mind, leaving the room essentially untouched, or did he see something inherent in the physical world, a subversive brilliance operating outside the range of mortal sight?[iii]
A week later, I walked through the doors of la belle cathédrale de Chartres into another epiphany:
The moment of entrance flooded me with intense emotion. I knew it would be beautiful, but I was unprepared for the way the soaring interior would catch me up in a such a physical way, and ravish my virgin eyes with the vivid, fantastic hues of medieval glass, floating islands of magic color in a sea of smoky shadows.
My eyes filled with tears. Never before had a building made me weep. It was that sense of perfection I have found more often in nature, the homecoming when one arrives at the perfect moment, the perfect place, where the lack that drives our stories is satisfied, every desire met.
I drifted around the cathedral as in a dream. There were no lights on at first, and the upward-thrusting shafts and vaults disappeared, like prayer, into a realm beyond our sight. The eloquent profusion of Gothic lines, the underlying mind that held vast forces in balance, subduing the play of gravity and architecture into a state of arrested serenity, was everywhere implied, but the complexity outran the mind’s descriptive grasp. Chartres invites not analysis, but worship. In every direction, the space receded into vague twilights. The effect was neither disorienting nor alarming, but enfolding, a mothering womb rather than annihilating tomb. Theotokos, the Divine Mother, was not only at the heart of the north rose window. She was the very space in which we moved.
The kaleidescopic windows seemed suspended, weightless, free floating in the darkness, jeweled messengers uttering angelic phrases directly to the soul, unclothed by human words. The north rose window, like Dante’s vision of the heavenly dance, held me rapt for the longest time. What kind of imagination had spread such rich fare before us? And if we feasted on such visions, how would we be changed?[iv]
[i] From “School,” a lecture given by Ralph Waldo Emerson in Boston on Dec. 19, 1838.
[ii] Ashton Nichols, The Poetics of Epiphany: Nineteenth Century Origins of the Modern Literary Movement (Tuscaloosa, AL: University of Alabama Press, 1987), 14.
[iii] Personal journal (April 29, 1976).
[iv] Ibid. (May 4, 1976)