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Their mothers, Hagar and Sarah, are depicted at the front of the crowd of descendants that gather near the colorful tent. The people look up to Abraham, with a glow of anticipation and wonder at his arrival. The flowing water at the well could refer to the heart-stopping event when Hagar and Ismael, having been sent out of the household and into the desert and were dying of thirst and despair, when God revealed a well of cool water to them. Water imagery, like the “fountain of life” in the Old Testament may be thought of as a precursor to the precious well of living water, the means of our rebirth at the baptismal fount.
The entire scene could be regarded as a kind of “mystical family reunion” with Abraham meeting his family again at a well or oasis; their assemble may resemble a “tableau vivant” more than any specific narrative. Like the impulse to document those present at a reunion, in a photograph, we have represented the extended family of faith with paint, in mural form.
Abraham, the earliest man of faith, is claimed by numerous faith communities and cultures. The phrase “Abraham, father of nations” is painted in English, Hebrew, Arabic, Amharic and Somali on rug like green rectangles. The Abraham motif provides a way to reach out to our new African neighbors in the West Bank; it allows for familiar African imagery to be illustrated. For example, the camel is a central icon of East Africa, a beloved animal that offers its all: milk, meat, clothing, transportation, and companionship are some of the gifts supplied to the Africans. Goats are also important for survival in that region; their inclusion was strongly suggested by the director of the Somali Federation of Minnesota. The common East African crowned crane are found in grassy areas. African fabrics are often printed in bold designs like the black and tan geometric pattern found in the horizontal base of the mural. These African images are offered as a welcoming gesture to the immigrants from that continent.
In addition to the African images, the mural contains many references to Christianity through the use of certain colors and symbols. Althought we are no longer as acquainted with these links to Christian themes as other eras were, they still provide the visual vocabulary that can help teach “the person in the street” something of the stories of the Bible. Yellow or gold symbolizes solar light, divine intelligence, or illuminated Truth. This color is found in the arch around the door and in the sun shape behind Abraham. The sun is source of great energy, light and riches. Who else would that be for us, except Christ, our life-giving force. Red is the color of Pentecost and also recalls the Christian martyrs. It is linked to passion, blood, and fire. Sin and suffering are evoked as well. Blue symbolizes heaven. Spiritual love, Truth, and fidelity are facets of blue. In is the color of Mary’s robe. Red, blue and yellow are the primary colors of the spectrum. From these all colors are made. Together, they are the stuff of creation.
In John 15, Jesus tells us that He is the vine and we the branches. It could also refer to the three faiths of the Book: Jewish, Christian and Muslim growing from one shared source. Another way to regard the vine is to see it as the Church, with Christ as the gardener of the vineyard. The palm tree is an ancient Middle East icon symbolizing the TREE OF LIFE, the tree of the immortals. In pre-history, a tree became a symbol of the cosmos itself, its branches reaching up to heaven and its roots reaching down to hell.
Remember the stars that represent the uncountable descendants of Abraham? Here is another meaning to their presence in the palm fronds. Star imagery is found in an endearing 19th century legend that proclaims that on the night that Christ was born, not only did orchards and gardens bloom, the stars settled on bare trees as the first Christmas ornaments!
The triangle clusters on the stairway provide an apt symbol for the Trinity. Always remember that the number 3 is indivisible. . .our One God with 3 aspects; Father, Son and Holy Spirit (Wisdom).
Around the stairway corner, you will find the crowned crane. This bird resembles the better known peacock who you will often spot perched on the roof of the créche in many Renaissance nativity paintings. 16th century Christians regarded the peacock as a symbol of the resurrection. The spectacular bird’s tail feathers renew themselves, becoming more and more brilliant and glorious. In medieval times, the plaintive and haunting wail of the peacock was thought to resemble the cry of the Christians, calling out to God for help.
These notes regarding the Abraham mural are only meant as auxiliary musings about the imagery, themes and process of designing the piece. We hope for a feeling of unity between both murals, now wrapping around 2 walls of the Trinity Lutheran Congregation building. Explore and muse, new associations may occur and offer fresh insights for our community. Let us know what you see and feel about ABRAHAM AND HIS CHILDREN.
Larry Rostad, mural developer, August 2006-2010
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