Winter Moon of the Long Nights
As she wanes, the moon of the long nights has gone sliver, showing herself this morning covered in a gauze of clouds over Conifer Mountain, just above the tops of the lodgepole pines. Soon she will fade away and the night sky will be black, the best stargazing.
The language of Judaism. Expressed yesterday evening in stained glass. Rich Levine has been teaching in the religious school at Beth Evergreen for several years. He’s connected with a stained glass artist named Linda Elliot. His students and Linda have collaborated to design and then create three works for the congregation.
The first is a star of David made of 108 triangles. This familiar symbol of Judaism has six points creating a triangle pointing up toward the source of all things and another pointing down toward this world, the ancientrails of human and sacred movement. This piece was made with 3rd and 4th graders who wrapped each triangle in copper foil and placed them.
The next window, made with another religious school class, presents Joseph’s second dream. In this dream there are eleven stars, the sun and moon and the eleven stars bow down to Joseph. This dream triggers the theft of his coat of many colors and finds him left for dead in a pit. Since this is the means by which Joseph ends up in Egypt, where his entire family eventually joins him during a famine predicted in his first dream, it is also the start of the Egyptian bondage.
This image incorporates the rainbow, the sign of the universal covenant between God and all peoples, all the descendants of Noah. It has eleven stars, more abstract than the star of David, with the moon in the lower right hand corner. The sun joins the image when it rises each day.
The third window, seen veiled in the right of this photograph, created this last year by yet another class of religious school students, focused on abstraction, the expression in form and color of love. To my eye it’s abstract in a manner similar to Joseph’s Dream though Joseph’s Dream focuses on a particular narrative.
In the new work the twelve tribes emerge from the base line and push up toward the burning bush, spreading their message out, out, out in rays away from the bush.
Linda explained that the glass in this piece was made in Oregon. “They have a recipe, like Betty Crocker, which they use to create predictable colors.” But on Saturdays, she said, the same workers go into the glass making shop and tweak the recipes, creating what this company calls Saturday glass. This piece is made of Saturday glass and is, as a result, unique in its most basic material.
The burning bush itself has two layers of glass, one more orange tinted that faces in to the social hall and another, red, that faces the outside. When the sun shines directly through the burning bush, the red will appear like flames. This red is one of the finest reds she’s ever seen in glass according to Linda. I’ll take a picture of this panel on Thursday when the sun’s out and add it back into this post.
In the new work I see a beating heart, the pulsing center of generations spreading out into the whole world from the twelve tribes.
These three works, Rich’s work with religious school students and Linda’s help in their realization illustrates my point from a post below about religions as a language of the soul. In them Congregation Beth Evergreen finds particular references to the ancient tradition, yet they also convey the universal power of symbols, the revelatory nature of dreams and the outward extension of a small nation made of twelve tribes, history made by the human family.