Mural at Santa Rosa de Lima, Barrio Amelia, Guaynabo, Puerto Rico. Painted in 1997 by A.Vonn Hartung, with the participation of the community, commissioned by Padre Julio Victor Garcia
“The Faith of Santa Rosa de Lima“, central section
This retablo/mural speaks of the faith of Santa Rosa de Lima and her spiritual passion for our Lord and of His presence in all things.
Santa Rosa de Lima
The focus is a visualization of the Crucifixion and His triumph into eternal life: The Resurrection of Jesus Christ.
The composition emanates from the centeredness of Christ and of His sacrifice for our salvation. It conveys a sense of movement in salvation history. It speaks of place, here in Guaynabo across the bay from San Juan. It speaks of salvation, of our sacred Lord hanging from His cross, who beholds us as His people on His planet and as a community, as a church. “God so loved the world He gave His only begotten son” (John 3:16).
The composition is circular, rising from beneath the cross with the law, the Ten Commandments of Moses, and the scrolls of the prophets.
Scrolls of the prophets
Raising upward into the Passion of our Lord, we see His saving power, symbolized in the radical redemption of the crucified thief (Luke 23:39-43), here depicted rising to Jesus’ right, his hand outstretched, the empty cross evidence of his salvation. Also shown here is the church’s first martyr, Stephen, to Christ’s uppermost left (the wounds of his stoning still apparent). Below the cross is Mary, Jesus’ mother, next to young John, kneeling. Rising above him is the mother of James and John, and across from her is Mary Magdalene.
Jesus’ sacred blood drips down and is held in the hands of His saints, as it bursts into holy flame.
Above the arms of the cross, we catch a glimpse of paradise, symbolized by the Easter Lily and the Roses, as their thorns transform into rosebuds, alongside the star-filled dawning sky that stretches to the ends of the earth. Christ’s resurrected power is brought into focus, working through His people, seen on both sides of the retablo.
The first missionaries to the extreme right of Christ are represented by the Dominican Friar riding on his donkey as he brings the holy message of Christ’s salvation and His commandment “have love for one another as I have loved you (John 13:35).
Dominican Friar
Below the Friar on his donkey is the miracle at Lourdes, as expressed in the grotto with Bernadette at the spring of water where she beholds her miraculous vision, here depicted below the statue of the Virgin Mary.
Bernadette at Lourdes
Looking up from the grotto, we witness Christ’s baptism by John the Baptist, and surrounding them, the shadows of Christ’s baptized followers are transfigured into light. Above them and the rocks, Martin de Porres (fellow saint and friend of Santa Rosa) follows faithfully in the path of Jesus, who, on his donkey, descends into the crucible of His trial, conviction, and sentence to death on the cross. Along this path, we see evidence of the Parable of the Sower (…some “seeds fell on good soil and brought forth grain “(Matthew 13).
Baptism
Below Jesus, we see the Ship of Fools, filled with gold bullion, reflecting the fools’ fixation on wealth and worldly power.
On the ship, the captain gazes at his compass, which is painted as a roulette wheel, indicating the uncertainty of their destination. Below the mast, the thief who scoffed at Jesus while on his cross has now descended and is peddling drugs to our innocent children. Looking up, we see his cross with an automatic weapon and the words “El rey de los violentos”.
Above the ship, the barren landscape stretches out, stripped of vegetation, while the sands of our once-beautiful beaches are disappearing due to unchecked, unsustainable growth.
Ship of Fools
Looking to the other side of the retablo and to Christ’s right, is Noah’s ark along with some of the animals saved from the flood. The pronouncement of Christ in letters of brass mounted on the wall, “Vengan a mí todos los que estén cansados y agobiados, que yo los aliviaré…” (Matthew 11:28). And those who do His will and bring His teachings to future generations into the church, symbolized by the priest who receives the child here today. This call is responded to by the community of God’s people, lifting one another into community and His kingdom, and settling in the garden and statue of Santa Rosa de Lima.
Noah’s Ark and community
I have been blessed to be part of this artistic endeavor, alongside the community of Santa Rosa de Lima, Barrio Amelia, which showcases our faith for the greater glory of our Lord and Savior Jesus Christ.
Mural en Santa Rosa de Lima, Barrio Amelia, Guaynabo, Puerto Rico. Pintado en 1997 por A.Vonn Hartung, con la participación de la comunidad, por encargo del Padre Julio Víctor García.
La Fe de Santa Rosa de Lima
Este mural habla de la fe de Santa Rosa de Lima y de su pasión espiritual por nuestro Señor y de Su presencia en todas las cosas.
Santa Rosa de Lima
Se centra en una visualización de la Crucifixión y su triunfo hacia la vida eterna: la Resurrección de Jesucristo.
La composición emana de la centralidad de Cristo y de su sacrificio por nuestra salvación. Transmite una sensación de movimiento en la historia de la salvación. Habla de lugar, aquí en Guaynabo, al otro lado de la bahía de San Juan. Habla de salvación, de nuestro sagrado Señor colgado de su cruz, quien nos contempla como su pueblo en su planeta y como comunidad, como iglesia. “De tal manera amó Dios al mundo que dio a su Hijo unigénito” (Juan 3:16).
La composición es circular, elevándose desde debajo de la cruz con la ley, los Diez Mandamientos de Moisés y los rollos de los profetas.
Rollo de los profetas
Elevándonos hacia la Pasión de nuestro Señor, vemos su poder salvador, simbolizado en la redención radical del ladrón crucificado (Lc 23, 39-43), aquí representado elevándose a la derecha de Jesús, con su mano extendida, la cruz vacía evidencia de su salvación. Aquí también se muestra al primer mártir de la iglesia, Esteban, en el extremo superior izquierdo de Cristo (las heridas de su lapidación aún son visibles). Bajo la cruz, vemos a María, la madre de Jesús, junto al joven Juan, arrodillado. Sobre él se alza la madre de Santiago y Juan, y frente a ella, María Magdalena.
La sangre sagrada de Jesús gotea y es sostenida en las manos de sus santos, mientras estalla en llama sagrada.
Sobre los brazos de la cruz, vislumbramos el paraíso, simbolizado por el lirio de Pascua y las rosas, cuyas espinas se transforman en capullos, junto con el cielo estrellado del amanecer que se extiende hasta los confines de la tierra. El poder resucitado de Cristo se destaca, obrando a través de su pueblo, visible a ambos lados del retablo.
Los primeros misioneros, a la extrema derecha de Cristo, están representados por el fraile dominico montado en su burro, quien anuncia el santo mensaje de la salvación de Cristo y su mandamiento: «Amaos los unos a los otros como yo os he amado» (Juan 13:35).
Fraile dominicano
Debajo del Fraile sobre su burro, vemos el milagro de Lourdes, tal como se expresa en la gruta con Bernadette en la fuente de agua donde contempla su visión milagrosa, aquí representada debajo de la estatua de la Virgen María.
Bernadette en Lourdes
Al alzar la vista desde la gruta, presenciamos el bautismo de Cristo por Juan el Bautista, y a su alrededor, las sombras de los seguidores bautizados de Cristo se transfiguran en luz.
Bautismo
Sobre ellos y las rocas, vemos a Martín de Porres (compañero santo y amigo de Santa Rosa) siguiendo fielmente el camino de Jesús, quien, montado en su burro, desciende al crisol de su juicio, condena y sentencia de muerte en la cruz. A lo largo de este camino, vemos evidencia de la parábola del sembrador: «Algunas semillas cayeron en buena tierra y dieron fruto» (Mateo 13).
Debajo de Jesús, vemos pintada la nave de los necios, llena de lingotes de oro, lo que refleja la fijación de los necios en la riqueza y el poder mundano.
En el barco, vemos al capitán mirando su brújula, que, pintada como una ruleta, indica la incertidumbre de su destino. Bajo el mástil del barco, vemos al ladrón que se burló de Jesús en la cruz, ahora ha descendido y está traficando drogas a nuestros niños inocentes. Mirando hacia arriba, vemos su cruz con un arma automática y las palabras “El rey de los violentos”.
Sobre el barco está pintado el paisaje devastado, desprovisto de vegetación, ¡y las arenas de nuestras hermosas playas se están agotando debido a un crecimiento insostenible a largo plazo!
La nave de los necios
Mirando al otro lado del retablo, a la derecha de Cristo, vemos el arca de Noé junto con algunos de los animales salvados del diluvio, y la declaración de Cristo en letras de bronce fijadas en la pared: «Vengan a mí todos los que estén cansados y agobiados, que yo los aliviaré…» (Mateo 11:28).
El Arca de Noé y la comunidad
Y a quienes hacen su voluntad y llevan sus enseñanzas a las futuras generaciones a la iglesia, simbolizadas por el sacerdote que recibe al niño hoy. A este llamado responde la comunidad del pueblo de Dios, elevándose unos a otros hacia la comunidad y hacia su reino, y estableciéndose en el jardín y la estatua de Santa Rosa de Lima.
He sido bendecida de haber podido, junto con la comunidad de Santa Rosa de Lima, Barrio Amelia, ser parte de este esfuerzo artístico mostrando la fe para mayor gloria de nuestro Señor y Salvador Jesucristo.
The following are works of art by A.Vonn Hartung in Catholic Churches, in Puerto Rico, Connecticut, Florida, and the Vatican (Pontifical North American College, Hall of Saints).
Paintings, portraits, wood sculpture (high relief and full statues), murals, mosaics, “stained glass” windows
Casa de Niños Manuel Fernández Juncos (capilla), Miramar, San Juan, Puerto Rico
—La Madre Dolorosa, High Relief Wood Sculpture, 33 x 27 inches, Pau Lope wood, commissioned by Padre Julio Victor Garcia, 1991
—Sagrario “He is Risen” 20 x 14 x 12-inches, high relief wood sculpture on the door of Sagrario, commissioned by Padre Jorge Castillejo, 1992
—Altar and Ambo, high relief wood sculpture, Pau Lope wood, commissioned by Padre Jorge Castillejo, 1992
La Madre Dolorosa
Parroquia San Francisco Javier, Urb Fairview, Trujillo Alto, Puerto Rico
—San Francisco Javier Baptizing, painting on wood panel, 7 x 11 feet, altarpiece (retablo), commissioned by Padre Julio Victor Garcia, 2002
Hermanas Misioneras del Buen Pastor, Caguas, Puerto Rico
—El Buen Pastor / The Lost Sheep, painted mural on canvas (after Alfred Soord, The Lost Sheep), 9 x 12 feet, Sanctuary of Capilla, commissioned by las Hermanas Misioneras del Buen Pastor, circa 1986
—Las Huellas del Buen Pastor, oil painting (small mural), 40 x 60 inches, commissioned by las Hermanas Misioneras del Buen Pastor, 1995
El Buen Pastor / The Lost Sheep
Parroquia El Buen Pastor, Guaynabo (Apolo), Puerto Rico
—El Buen Pastor, a painting on wood panel, 4 x 8 feet, commissioned by Padre Jaime Vazquez Rojas, 2003
El Buen Pastor
Parroquia Santa Rosa de Lima, Guaynabo (Barrio Amelia), Puerto Rico
—A Mural of Faith: Art in the Light of Christ, a painted mural in the Sanctuary, 29 x 65 feet, commissioned by Padre Julio Victor Garcia, 1997.
—Stations of the Cross, 14 painted panels, each 4 x 8 feet (gilded with gold and copper leaf) in the nave, commissioned by Mons. Antonio “Tito” José Vázquez, 2001
—Cordero2, wood carving (for Sagrario), commissioned by Padre José Gregorio Guaipo
—Beato Carlos Manuel Rodríguez Santiago, large giclee print on canvas, Padre José Gregorio Guaipo
Jesus takes up his cross
Parroquia Maria Auxiliadora, La Cantera, Hato Rey, Puerto Rico
—La Misericordia de San Juan Bosco, painting on wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—San Juan Bosco blesses his successor, Blessed Michael Rua, painting on a wood panel, 3 ½ x 8 feet, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2011
—Santo Domingo Savio (4 paintings on wood panels), in the side altars of the Sanctuary, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2014
—Forever Young, a 27 square foot painting for the students of Colegio San Juan Bosco at Parroquia Maria Auxiliadora, commissioned by Padre Jorge Santiago Cartagena SDB, 2017
—Fourteen Stations of the Resurrection, large giclee prints on wood panels, commissioned by Padre Nicolás “Colacho” Navarro SDB, 2018
Siempre Jóven / Forever Young
Colegio Maria Auxiliadora (in capilla), Santurce, Puerto Rico
—Mi Vida es para los Jovenes, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
—Santa Maria Mazzarello, vitral (oil paint on Lexan), commissioned by Sor Estela Baez y las Hermanas Salesianas, circa 2003.
Mi Vida es para los Jóvenes
Parroquia San Juan Bosco, Villa Palmeras (Calle Lutz), San Juan, Puerto Rico
—Ten Stations of the Resurrection, vitrales (oil paint on Lexan), commissioned by Padre Luis Gomez SDB, circa 2005.
He saw and believed
Parroquia San Juan Bautista, Orocovis (pueblo), Puerto Rico
—La Vida y Profecia de San Juan Bautista (The Life and Prophecy of St. John the Baptist), mosaic mural, 500 square feet in three arches, Sanctuary, commissioned by Padre Jorge Santiago Cartagena SDB
—Last Supper (oil paint on Lexan), in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Pan y el Vino (two “stained glass” windows, oil paint on Lexan) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—Resurrección (stained glass window) in Santisima Chapel, commissioned by Padre Jorge Santiago Cartagena SDB
—El Nacimiento de San Juan Bautista (three “stained glass” windows, oil paint on Lexan) in Sacristy, commissioned by Padre Jorge Santiago Cartagena SDB
La Vida y Profecía de San Juan Bautista
Capilla San Juan Bosco, Orocovis (Barrio Gato), Puerto Rico
—El Sueño de las Dos Columnas (Dream of the Two Columns), a painted mural in the Sanctuary of Capilla, 18 x 50 feet, commissioned by Padre Jorge Santiago Cartagena SDB
—FourteenStations of the Resurrection, “stained glass” windows—oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
—Two large “vitrales” (theme of the mural “Dream of the Two Columns”), oil paint on Lexan, commissioned by Padre Jorge Santiago Cartagena SDB
El Sueño de las Dos Columnas
Capilla Divino Niño Jesús, Orocovis (Botijas), Puerto Rico
—San José con el Niño Jesús, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Jesús Resucitado, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
—Maria Auxiliadora, acrylic painting on wood panel, in the Sanctuary, commissioned by Padre Demetrio Coello SDB and the Salesian community.
San José con Niño Jesús
Catedral San Juan Bautista, Viejo San Juan, Puerto Rico
—Stations of the Resurrection, 14 paintings on wood panels, 24 x 24 inches, 2015, on loan from the artist, A.Vonn Hartung, to Mons Roberto Gonzalez Nieves, 2018 (NOTE: Giclee prints of these paintings are on display in several churches in Puerto Rico.)
—Carved Andas, (for processions) commissioned by Mons Roberto Gonzalez Nieves with liturgical consultant Hector Balvanera, 2015
—Misericordia, a painting on wood panel, 2015, commissioned by the Archbishop of San Juan, S.E.R. Monseñor Roberto González Nieves, for the arch above the main doors of Catedral San Juan Bautista in San Juan, Puerto Rico, to commemorate Pope Francis’ declared Extraordinary Jubilee Year of Mercy 2015-2016. Liturgical consultant Hector Balvanera.
Misericordia
Capilla María Auxiliadora, Carolina (rural), Puerto Rico
—Saint Joseph, Protector, carved statue, approximately 3 feet high, in Capilla, commissioned by Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
—Beato Carlos Manuel Rodríguez Santiago, giclee print on canvas, Padre Rafael de Jesús Gonzalez Ayala CRL, 2017
St. Joseph, Protector
Catedral Dulce Nombre de Jesús, Caguas, Puerto Rico
—Cordero, wood carving for Beato Carlos Manuel Rodriguez’s tomb, commissioned by Mons. Ruben Antonio Gonzalez Medina CMF, 2001
Cordero de Dios
Parroquia Maria Madre de mi Señor, Guaynabo, Puerto Rico
—Before Birth: Mary at the Manger, acrylic painting on canvas, 24 x 36 inches, commissioned by Padre Jairo Granados, 2021
Before Birth, Mary at the Manger
Parroquia Corazón de Jesús, Guaynabo, Puerto Rico
—Fourteen Stations of the Cross, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
— Fourteen Stations of the Resurrection, Giclee prints mounted on wood panel, commissioned by Padre Phillip (Felipe) Nuñez, 2020
Via Crucis / Via Lucis
Parroquia San Ignacio de Loyola, San Juan, Puerto Rico
—Replica of high relief ceramic sculpture St Benedict of Nursia, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Francis of Assisi, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
—Replica of high relief ceramic sculpture, St Ignatius of Loyola, 32 x 11 x 3 inches, Forton Hydrocal (architectural stone), Rev. Ron Gonzales, SJ
Six Carved Saints (Paul, Peter, Matthew, Mark, Luke, and John), high relief wood sculptures, tropical cedar (12-inches x 33-inches x 3-inches) for the ambo, commissioned by Pastor Doug Halsema with liturgical consultant Steven Schloeder, 2008
St. John Evangelist
The Holy Family, high relief wood sculpture, tropical cedar, 42 x 44 inches, commissioned by the Unanue Freeborg family, Miami, Florida, 2012
The Holy Family
Pontifical North American College, Vatican
Beato Carlos Manuel Rodriguez Santiago, painting on canvas, 34 x 26 inches, in the Hall of Saints, commissioned by Mons Roberto Gonzalez Nieves, Archbishop of San Juan, 2001
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Before Birth, Mary at the Manger
This is one of the prints available in my Christian Sacred Art collection. Other collections in my gallery are Landscapes, Portraits, Flavors of Puerto Rico, Conversations with Creation, Climate Crisis, Stations of the Cross, Stations of the Resurrection, Genre paintings, and War.
I am an artist that has dedicated my life and art to a search for the spiritual dimensions of human nature as well as God’s beauty revealed in Creation. Through my paintings, wood carvings, prints, portraits, serigraphs, and murals, I seek to reveal the Light within that emanates and enriches our lives.
In my non-commissioned work, I am working on a series of paintings and carvings pertaining to God’s Creation and our response to the Climate Crisis, as called for in Pope Francis’ Encyclical— Laudato Si’. Many of these paintings are included in my “Climate Crisis” collection at GeoGalleries.
Because we are witnessing the invasion and bombing of Ukraine, I painted this Glimpse of the Sacred juxtaposed to the Profane.
The innocent victims are protected by the sanctity of Saint Sophia Cathedral, with its magnificent spires shown in the foreground in Kyiv. They are juxtaposed to the shelling near Ukraine’s six Nuclear Reactors at Zaporizhzhia nuclear power station, and the devastation and destruction of War.
The Ukrainian people are suffering Terror!
A bomb killed dozens of people waiting in line for food. Bombs have been destroying buildings and people’s homes, even destroying the zoo.
What we are seeing in the resilience of the Ukrainian people is Democracy in Action! Indeed, ordinary people are putting themselves in front of tanks. Farmers are clearing roads with their tractors. Indeed, millions of bombed-out families are trying to escape the terrorism of war.
Courageous people around the world are raising their voices against these horrors.
Debido a que estamos presenciando la invasión y el bombardeo de Ucrania, pinté este Vislumbre de lo Sagrado yuxtapuesto a lo Profano.
Las víctimas inocentes están protegidas por la santidad de la catedral de Santa Sofía con sus magníficas agujas que se muestran en primer plano en Kiev. Están yuxtapuestas al bombardeo cerca de los seis reactores nucleares de Ucrania en la central nuclear de Zaporizhzhia, y la devastación y destrucción de la guerra.
¡El pueblo ucraniano está sufriendo terror!
Una bomba mató a decenas de personas que esperaban en la fila para recibir comida. Las bombas han estado destruyendo edificios y casas, incluso destruyendo el zoológico.
Lo que estamos viendo en la resiliencia del pueblo ucraniano es Democracia en Acción! La gente común se está poniendo frente a los tanques. Los agricultores están limpiando caminos con sus tractores. Millones de familias bombardeadas intentan escapar del terrorismo de guerra.
Gente valiente de todo el mundo está alzando la voz contra estos horrores.
The angel said to the women, “Do not be afraid, for I know that you are looking for Jesus, who was crucified. He is not here; he has risen, just as he said. Come and see the place where he lay. (Mt 28)
In this first station, we are confronted, as are the women who approached the tomb, with the feeling of otherworldliness upon seeing the angel and the empty tomb.
As we approach the first station, we come upon the spectacle of the angel beside the empty tomb who announces that Christ is not there, “He has Risen!” Go tell the apostles He has risen, just as he said. Alleluia, Alleluia Christ has risen! Astonished and euphoric, the women give praise. The bottom half of all the stations shows Christ’s Cross at Golgotha, which for us is the bridge between this life and the life to come, with God in Eternity through Christ’s Resurrection.
When Jesus was resurrected, becoming for us The Christ,in that moment, the world was changed forever!
¡Ha Resucitado! —Una pintura acrílica original de la serie de 14 Estaciones de la Resurrección (Via Lucis) por A.Vonn Hartung
El ángel dijo a las mujeres—No tengan miedo; sé que ustedes buscan a Jesús, el que fue crucificado. No está aquí, pues ha resucitado, tal como dijo. Vengan a ver el lugar donde lo pusieron. (Mt 28)
En esta primera estación nos enfrentamos, al igual que las mujeres que se acercaron al sepulcro, con el sentimiento de otra mundanalidad al ver al ángel y al sepulcro vacío.
Al acercarnos a la primera estación, nos encontramos con el espectáculo del ángel junto al sepulcro vacío que anuncia que Cristo no está allí: “¡Ha resucitado!”. Vayan a decirles a los apóstoles que ha resucitado, tal como dijo. ¡Aleluya, aleluya! ¡Cristo ha resucitado! Asombradas y eufóricas, las mujeres dan alabanzas. La mitad inferior de todas las estaciones muestra la cruz de Cristo en el Gólgota, que para nosotros es el puente entre esta vida y la vida venidera, con Dios en la eternidad mediante la Resurrección de Cristo.
Cuando Jesús resucitó, convirtiéndose para nosotros en El Cristo, en ese momento, ¡el mundo cambió para siempre!
As is often the case, the fishermen came up short, having spent a whole night without catching a fish for breakfast.
Christ appears as a beacon of Hope.
He tells them to cast their nets on “the right side of the boat.” The boat swings into action, the tilt of the mast and that of the crossbeam, the prow and the stern all point towards the fulfillment of the Lord’s commandment, “cast your net”.
They follow His command, and their nets overflow with fish. He teaches us that blessings flow if we follow His way and have faith in Him, who is our Shepherd. In the bottom half of the circle, Calvary and the abyss that represents death, and the three-dimensional cross, the bridge from earthly to eternal reality.
When Jesus was resurrected, becoming for us The Christ,in that moment, the world was changed forever!
Como suele ocurrir, los pescadores se quedaron cortos, pues pasaron una noche entera sin pescar nada para desayunar.
Cristo aparece como un faro de esperanza.
Él les dice que echen sus redes “a la derecha de la barca”. La barca entra en acción, la inclinación del mástil y de la viga transversal, la proa y la popa, todo apunta hacia el cumplimiento del mandamiento del Señor, “echad la red”.
Siguen su mandato, y sus redes rebosan de peces. Él nos enseña que las bendiciones fluyen si seguimos Su camino y tenemos fe en Él, quien es nuestro Pastor. En la mitad inferior del círculo, el Calvario y el abismo que representa la muerte, y la cruz tridimensional, puente de la realidad terrena a la eterna.
Cuando Jesús resucitó, convirtiéndose para nosotros en El Cristo, en ese momento, ¡el mundo cambió para siempre!
After a breakfast of the fish they caught, Jesus takes Peter aside and asks him, Peter, do you love me? Peter answers three times that he does. Jesús then says, “Peter, if you love me, feed my sheep; if you love me, shelter my sheep; if you love me, protect my sheep, for the commandment I have given you is to ‘love one another as I have loved you.” In the bottom half of the circle, Calvary and the abyss that represents death, and the three-dimensional cross, the bridge from earthly to eternal reality.
Here we have the essence of Christian faith, Love. Love one another as I have loved you. So, Christ Jesus tells Peter, if you love me, you will love and care for my little ones, you will care for my faithful, you will care for the old and the vulnerable, because that is the essence of Love, to care for each other. Here, we can see the language of art working together to bring this moment and this message alive.
When Jesus was resurrected, becoming for us The Christ,in that moment, the world was changed forever!
Después de desayunar el pescado que habían pescado, Jesús toma a Pedro aparte y le pregunta: Pedro, ¿me amas? Pedro responde tres veces que sí. Jesús entonces dice: «Pedro, si me amas, apacienta mis ovejas; si me amas, cuida mis ovejas; si me amas, protege mis ovejas, porque el mandamiento que te he dado es: ‘Amaos los unos a los otros como yo os he amado’». En la mitad inferior del círculo, el Calvario y el abismo que representa la muerte, y la cruz tridimensional, el puente entre la realidad terrenal y la eterna.
Aquí tenemos la esencia de la fe cristiana, el amor. Amaos los unos a los otros como yo os he amado. Entonces, Cristo Jesús le dice a Pedro, si me amas, amarás y cuidarás a mis pequeños, cuidarás a mis fieles, cuidarás a los viejos y vulnerables porque esa es la esencia del Amor, cuidarse el uno al otro. Aquí podemos ver el lenguaje del arte trabajando en conjunto para traer este momento, este mensaje vivo.
Cuando Jesús resucitó, convirtiéndose para nosotros en El Cristo, en ese momento, ¡el mundo cambió para siempre!
Ora et labora (Pray and work)—refers to the Catholic monastic practice of working and praying. St. Benedict viewed prayer and work as complementary, believing in the integration of contemplation with action.
St. Benedict is shown here writing; this is significant for two primary reasons. One, because he was a scholar and he was concerned about the sharing of knowledge with the public so that they could advance and have a better life, and especially be closer to Christ and His saints.
And two, he is writing in cursive Latin, that is, he is popularizing Latin and adapting its stilted lettering style into a cursive style more easily written. This style and his use of the Vernacular became the beginnings of the Italian language we know today.
In the foreground, we see a black bird, representing the Raven, which saved his life when his bread was poisoned by jealous monks envious of his many superior traits and saintly concerns for those under him, which made him such a good leader.
In the background, we see Monte Cassino, the monastery he founded some 40 miles south of Rome, which did so much to nourish Christian virtues and enrich European civilization. At its height, the Benedictine order could boast 37,000 monasteries.
Ora et labora (reza y trabaja)—expresa la vocación y la vida monástica benedictina de alabanza a Dios junto con el trabajo manual diario. San Benito vio la oración y el trabajo como socios, y creía en combinar la contemplación con la acción.
San Benito se muestra aquí escribiendo; esto es importante por dos razones principales. Uno, porque era un erudito y estaba preocupado por compartir conocimientos con el público para que pudieran avanzar y tener una vida mejor, y sobre todo estar más cerca de Cristo y sus santos.
Y dos, está escribiendo en latín cursivo, es decir, está popularizando el latín y adaptando su estilo de letras estilizadas en un estilo cursivo más fácil de escribir. Este estilo y su uso de la lengua vernácula se convirtieron en los inicios de la lengua italiana que conocemos hoy.
En primer plano vemos un pájaro negro, que representa al Cuervo que le salvó la vida cuando su pan fue envenenado por monjes celosos envidiosos de sus muchos rasgos superiores y preocupaciones santas por los que estaban debajo de él, lo que lo convirtió en un buen líder.
Al fondo vemos Monte Cassino, el monasterio que fundó a unas 40 millas al sur de Roma, que tanto contribuyó a nutrir las virtudes cristianas y enriquecer la civilización europea. En su apogeo, la orden benedictina podía presumir de 37.000 monasterios.
I carved this icon in American Linden wood. It is an interpretation influenced by the tradition of Eastern Orthodox Iconography. Saint Michael the Archangel stares down the evil one, whom he has pinned with his staff. I carved the two fallen angels in the upper corners as they shrink away in shame from His divine power.
“Saint Michael the Archangel, defend us in battle. Be our protection against the wickedness and snares of the devil; May God rebuke him, we humbly pray; And do thou, O Prince of the Heavenly Host, by the power of God, thrust into hell Satan and all evil spirits who wander through the world for the ruin of souls. Amen.”
Esculpí este icono en madera de tilo americano. Es una interpretación influenciada por la tradición de la iconografía ortodoxa oriental. San Miguel Arcángel mira fijamente al maligno que ha inmovilizado con su bastón. Esculpí en las esquinas superiores a los dos ángeles caídos mientras se alejaban avergonzados de Su poder divino.
San Miguel Arcángel, defiéndenos en la lucha. Sé nuestro amparo contra la perversidad y acechanzas del demonio. Que Dios manifieste sobre él su poder, es nuestra humilde súplica. Y tú, oh Príncipe de la Milicia Celestial, con el poder que Dios te ha conferido, arroja al infierno a Satanás, y a los demás espíritus malignos que vagan por el mundo para la perdición de las almas. Amén.
