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Bible Study Resource

The Eye of the Beholder

The Gospel of John comes alive in the work of Frank Wesley.

Explore the ways some of that life can spill over into your Bible study sessions.

Response to the art used to illustrate the 2000--2001 Horizons Bible study, Women and the Word: Studies in the Gospel of John, has been remarkably positive. In addition to complimenting the choice of art and the work of the artist, readers often ask how they can learn more about this aspect of the Bible study. The result is this article, intended to help readers more fully appreciate the illustrations used in the study book, enriching and expanding their participation in the study.

About the Artist
The art used in this Bible study was created by Frank Wesley, widely considered the preeminent Christian artist in India today. Frank is a fifth-generation Christian, whose family roots are both Hindu and Muslim. His family lived and worked in an area that was evangelized by Methodist missionaries from Australia, as his surname suggests. Frank was born and grew up in a small village in North India, near Allahabad.

In the late 1940s, the National Christian Council in India began a special emphasis on the development of Christian family values and began to publish a quarterly magazine titled Christian Home. In each issue they included an 8 in. x 11 in. reproduction of a Christian painting by an Indian artist using an Indian artistic style and setting. The purpose was to make available pictures considered suitable for families to place in their homes, countering the brightly colored posters of Hindu gods and goddesses, and Muslim holy places.

Young Frank Wesley was quickly discovered and encouraged to use his artistic gifts to express his faith. Because of these reproductions he soon became the best-known Christian artist in India.

Lesson One:

The Flame Goes to Nazareth
For discussion: Note the visual symbols used to depict the prophetic pictures created by words in the Gospel of John.

This miniature painting, made with bright colors and delicate details, depicts the return of the holy family from Egypt to their home in Nazareth. Prophecy is indicated in the person of the toddler leading the way. He carries a forked stick in one hand, often used to divine the location of water. In his other hand he holds a toy lamb, suggesting his later claim to be the Good Shepherd.

Colors are often symbolic. The child's shirt is saffron, the color worn by mendicant holy men of India, and the small cap on his head glows crimson with happiness. His forehead is washed with gold, a symbol that his teachings are directly inspired by God. Most interesting is the halo of flame that encompasses his head and shoulders, a compound of red, white and gold, indicating the incandescence of his spirit infused by the power of God.

A traditional Jewish form of God is the Shechinah, the power of God seen in blinding light. A white dove of holiness is following the child, as are the parents. In the lower corner, three tiny white flowers indicate the Trinity.

Lesson Two:

Miracle at Cana
For discussion: Retell the story from the viewpoint of Jesus' mother, Mary.

This is basically a storytelling picture, so attention needs to be paid to the characters, setting and specific symbols used to enhance the meaning of the event. It revolves around the changed use of the water jars. We are reminded that water jars are involved in formal Jewish ritual. Now Jesus is revisiting their use and, in doing so, he expands the understanding from the covenant made between God and the Jewish people, to the all inclusive covenant, of which Christ is the emissary.

Five people are present: Jesus, his mother, the chief steward and two servants. Note what is conveyed about the character of each person by their clothing, posture and facial expressions. Of particular interest is Mary's personality as portrayed in this scene.

A stairwell leads to the area where the wedding is being celebrated. The focus of this painting is the courtyard, where servants are preparing food and drink. The location suggests this was not a miracle meant to impress the entire wedding party.

Lesson Three:

Samaritan Woman at the Well
For discussion: How is our understanding of this conversation enhanced by studying this painting?

Note that the painting portrays an encounter rather than a typical conversation. Study the facial expression and body language of each person, in particular, the way Jesus and the woman hold sustained eye contact.

Points of interest about the woman might include her unbound hair, her revealing blouse and bare arms, her soft clinging sari, her jewelry and especially her body position, leaning toward Jesus with her face thrust well beyond her body. Even the water pot has its mouth open facing Jesus, waiting to be filled.

Jesus needs to ask the woman for water because there is no community water pot provided. What's more, men did not draw water. But then, neither did they speak to such women. Perhaps the fact that the woman also wears a garment of saffron, although of a more delicate color than that of Jesus, tells us that she is also seeking to understand God.

Jesus sits in a position any Indian would recognize as "royal ease," often used for images of deities. His right hand is held in the traditional Indian position of benediction. Using blue color for his skin indicates eternity, the everlasting being of God. Here it also suggests the water of life and the satisfaction of the spirit, which he is offering. The halo is unusual, with shading that changes from the blue of eternity to the gold of revelation and divine inspiration. The lush growth of trees in the background, with golden light breaking through, announces new spiritual life as the world of nature reflects the acts
of God.

Lesson Four:

Lily Resurrection
For discussion: Visualize the wonder of God's actual presence and being.

The illustration chosen for this section does not refer to any of the four "I am" sayings studied in the lesson, so why might it have been chosen? See John 1:4, John 11:25 and perhaps Exodus 3:2, 13--14.

What do you see when you look at this painting. Is it a lily? A flame? What emotion is evoked? Is it hot or cool? Exciting or soothing? Is it specific or general? Does everyone feel the same thing?

Follow the quiet movement of translucent petals from the outside through the fluidly curved lines of white heat as of a moving flame set within the simplicity of the flower. A lily is used to symbolize resurrection because of the life cycle from dry bulb to graceful flower and its return to hibernation. A lily is static, calm and peaceful. A flame is dynamic, dancing and moving. As heat and light become hotter, they move through the color scale from red to orange and yellow to white, then hotter and hotter toward green and blue. It is very hot in the center, glowing just within the visual range of light.

Look into the depth of the flame. Focus deeper and deeper into the grey-green slit and into the arched doorway. Stop at the darkness. Here is a secret place curtained within a pointed arch. A tiny slit in the curtain has opened and the hidden presence of God has been revealed. Move now into the golden incandescence of the innermost chamber where we meet God. This revelation is the very glory of God's presence, endless and all encompassing. "The light shines in the darkness, and the darkness did not overcome it"(John 1:5).

Lesson Five:

Woman Taken in Adultery
For discussion: What happens when an illustration does not tell the same story we have often heard?

Try to read this picture. Who is here? Who is Jesus looking at? Everyone is looking at Jesus, but the woman's partner seems to be drawing back, unable to tear his gaze away from the teacher. While Jesus holds the gaze of the guilty youth, his finger touches the ground, writing.

The woman is not shown at all-only her shadow, thrown against the golden glow of the presence of God behind Jesus. The guilt of the woman is not the point of this encounter. Jesus questions the right of the gathered people to judge her by turning the encounter around. It is God, or rather the light of God's presence, who will judge the woman. Those whose own sin hangs heavily about them cannot act as prosecutors while in God's presence.

Lesson Six:

Raising of Lazarus
For discussion: How is the glory of God manifested by this miracle?

The position occupied by viewers of this painting is of supreme significance. We are inside the tomb, looking out. Deep black on both sides of the painting frames the doorway. Mary and Martha are not in the tomb with us. They are crouched at the doorway, faces turned away from the light of God, still bound in their unbelief. Across the bottom lies the body of Lazarus, wrapped in a chalk-white shroud. His body forms his own sarcophagus and seems to be the very doorsill of the tomb.

Jesus stands in the doorway, caught in the moment between life and death, his body stretched by the reach of his left hand toward God. He hides his upturned face with his right arm to shield it from the glow of the glory of God, the radiance of new life streaming around him into the tomb. Has the artist helped us to catch a glimpse of that glory?

Lesson Seven:

Mary Magdalene Washing the Feet of Jesus
For discussion: Can an illustration enhance our emotional understanding of the encounter Jesus had with this woman?

What is happening? It started with a customary gesture of hospitality. Many Eastern cultures include washing dusty feet as a part of the welcome to a guest. Describe the scene as shown, the feelings of Mary and the feelings of Jesus.

Now consider the emotion expressed by this painting. Is it touching-emotionally or physically? Can the physical touch indicated in the painting be felt by the viewer on another level (mental or emotional)? Can you put yourself inside the body of Mary, moving your hands with hers, feeling your cheek against his rough foot? Note the aspects of the painting that express these emotions: the lines of her hair curving and sinuous; the gracefully delineated features of the woman's face; the delicate textures of the skin and clothing; the subtle, delicate tints and hues. Do the contrasts of stark black with these delicate colors jar your emotions or enhance them? Do your feelings correspond to Jesus' response to this gesture, "She has performed a good service for me" (Mark 14:6b)?

Lesson Eight:

The Hand of God Is My Refuge
For discussion: Note the artist's special symbolism helping us explore the meaning of the hand of God.

Scriptural reference for this painting is Exodus 33:12,18--23. Read these verses and discuss why this illustration was chosen for a lesson that deals with Jesus' promise of the coming of the Holy Spirit.

What do you notice first? The lonely figure in the lower right corner is Moses-defenseless, both spiritually and physically. His clothing barely covers his body, gathered hurriedly about him like a towel. The setting confirms that he is hidden within a crevasse in the rocks, and we are there, standing behind him and looking out. Moses has asked to see the glory of God and he does not think of God in human shape. He has already encountered God in the burning bush and again in thunder and lightning, and God promises Moses an angel to lead him. But Moses feels the need of the full presence of the Lord if he is to carry out

the tremendous task that has been given to him. His desperation is matched by his daring, and he has no real concept of what he has requested. But God knows and says, "I will cover you with my hand" (Ex. 33:22). It is this aspect that is explored in the painting. The hand of God falls like a mighty curtain of eternal blue, with cupped fingers curled between Moses and the white hot light of God's glory. This is a consummate portrayal of the seeking soul, totally vulnerable and single-mindedly committed to seeing God face-to-face.

Lesson Nine:

Easter Morning
For discussion: How is the presence of God made clear in this painting?

This is a scene that moves from the ending of the life of Jesus to the beginning of our new life in Christ. How does the artist convey a sense of change and clear division? Note the slender branch of a tree moving from deepest darkness to the light of the new dawn. This branch symbolically bridges the darkness of death and the sunrise of new life-eternal life. What symbols do you notice were used to indicate the presence of the Spirit of the Lord? What specifically indicates the holiness of Jesus? Note the varying emotions on the faces of the women and the face of Jesus. Compare the faces to the landscape behind each one and how they reflect one another.

Naomi Wray is a former Methodist missionary to India whose lifetime commitment has been to encourage Chirstian artists in the exploration of their faith. She is the author of Frank Welsley: Exploring Faith with a Brush.

Approaching the Art

1. Remember, there is no right or wrong way to understand or see art. Each person's response, insight and feelings are always valid.

2. Encourage a wide variety of opinions and work to create a sense of trust before asking participants to share their comments.

3. Emphasize the benefits of many points of view, especially as a means of gaining insight and fresh perspectives on familiar passages.

4. Revisit the art in this study each time you gather-the more often we look, the more we'll see.

5. Compare responses to art with what is felt about favorite poems, hymns, movies or musical performances.

6. Invite participants to bring and share a favorite religious painting or design that relates to this study

Using the Art to Enhance Your Meeting

One time
Consider scheduling a special Bible study meeting based solely on the art used to illustrate this Bible study. Cover all nine lessons, using the interpretations of each piece and the key ideas given for discussion. This would make a wonderful spring retreat or closing session after your group has completed this Bible study.

Every time
Use some of the questions posed here or information given about the different illustrations as an additional or creative approach to each Bible study meeting. Ask different members of your group to read the interpretation of the art and lead a brief discussion either as a warm-up or closing to your regular Bible study session.

Frank Wesley: Exploring Faith with a Brush
by Naomi Wray, New Zealand: Pace Publishers, 1993.

This book includes reproductions of more than 100 works by Frank Wesley, accompanied by detailed interpretations and biographical material by the author. Cost $35. Also available, enlarged copies of the paintings used in the Horizons Bible study. Cost $2 each.

To order either the book or the reproductions, contact Naomi Wray, 50 Windchase Lane, Schuyler, VA 22969; naomiwray@aol.com.

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