God in Grand Central Station

By Nita Prelvukaj

“Beauty may be said to be gods trade mark in creation”. With deep rich green blue colors and images of the Gods watching down on grand central, one cannot help but feel the presence of the beauty as the work of god. Thousands of people walk through Grand Central Station on commute every morning. I spent a year walking in and out of trains, shops and restaurants in Grand Central Station never fully looking up to admire the Celestial Ceiling. I take the 6 train to work and back home never fully looking up. New York is a fast city and Grand Central is a blur as we bolt through our day.
 Decorated by artist Paul Helleu in 1912, the Celestial Ceiling at Grand Central Station features a motif of the zodiac. This design is famously inverted: some say because Helleu was inspired by a medieval manuscript showing the heavens, as they would be seen from outside celestial sphere.
 Beecher said, “We all need not go to old Rome and Athens to find the beautiful.” Greece and Athens are right here! The mural of the gods on the celestial ceiling is an accessible beauty to all who pass by. It watches the poor beggars who sit on its floors asking for money, the musicians who sing at its crevices, and those who scurry quickly down the halls.
 At the glory days of Athens and Greece, no man except the king and the priest was rich enough to have a picture in his house. Art belonged to the king- the government and the priest – the church. It was for the privileged of society. The great masses knew nothing of it. It was to them “something like the stars that they might worship, but did not belong to them”. The celestial sky belongs to all the New Yorkers of New York City.   

Image of the Celestial Ceiling

The constellations appear in reverse from how they would appear looking at the night sky. This is the night sky from the view of God, the presence of God in our New York City lives and the beauty that Henry Ward Beecher allowed into our home and I am fortunate to call a place like New York home. 

“There is an essential unity in all forms of the beautiful. It will not do to object the art, to embellish it of dress and furniture”. The celestial ceiling is hidden, hardly even noticeable. If it caught your attention, chances are twenty commuters almost knocked you over as they whisked by. We much understand the relations of God’s kingdom on earth to immortality. God’s immortality lives through the ceiling in its artistic beauty. The presence of this mural makes the soul of man more powerful. 

The Statue that survived Hiroshima

Overlooking the Hudson River, up on 105th street, lies the statue of Buddhist leader Shinran Shonin. He is wearing a peasant hat and holding a seemingly wooden staff. The statue is deliberately placed in front of a Buddhist temple. It is fifteen feet tall and made of bronze.

  This statue was brought in New York City by a businessman in the 60s; not all that uncommon. What is fascinating about it is that this statue stood only 1.5 miles away from the epicenter of the nuclear blast in Hiroshima, in 1945. By looking at it, one would not be able to tell its history, as it has a look a polished look. How awesome is that?
  The fact that it survived was deemed a miracle seemed to be a miracle at the time, while bringing it here symbolizes not only peace between Japan and the US, but also a desire for lasting peace all around the world. 

  The statue is on top of the hill, if it can be called that. To get to the highway and the water from there, you have to go down some stairs. The highway and the hill, are connected by a small park, very narrow but long. When I went, many people were walking their dogs, some couples were walking along, enjoying the view. Kids were running around playing cops and robbers. There was life all around. At the same time, since this happened at the beginning of December, the park was not green. All the trees had lost their leaves and were now just naked branches, while the grass was brown, lacking vitality. The scene seemed like a perfectly-placed allegory of the significance of this majestic statue. The nature had dried out and the park had an overall melancholic feel, but in that setting the roaming families were all joyful and full of life, enjoying the time spent together, in peace, while Shonin was gazing down upon them.

 While I was sitting on a steel bench, looking up at the statue from the park, with people roaming around next to me, I felt like Shonin’s way of standing there, with his hands pressed against each other, in front of his abdomen, made me want to sit there and meditate for the rest of the day. My physics class from that afternoon seemed like a distraction from the big picture. It reminded me of the meditation tradition that the Dharma Bums so freely adopted. In that peaceful moment, all I wanted to do was escape my stressful student life, riddled with impending deadlines and (500) word counts, even if it was for just one single hour. Granted, Japhy and Ray took this feeling a lot further when they decided to live Buddhist lives, outside of societal norms, but both situations had the same feeling at their core: a desire to keep the big picture in mind. 
  The simplicity of Shonin’s statue does exactly this. By only showing his stand there, dressed in proper Buddhist attire, emphasis is placed on the important values in life, the pursuit of happiness and a need of finding one’s self. These are, in my opinion, the main points of Kerouac’s book as well. 

  

I'll Fight, 120 W 14th Street

      I walk by this large edifice almost every day and have never given it a second look.  But then one day, the sun was hitting the concrete perfectly and the church caught my eye.  I stopped to take in the facade, the concrete walls and steps, and the gold colored metal gates.   Not many churches in New York City have such an entrance as this.  The openness of the building contrasts the use of concrete and reminds me of a cavern.  However, when the sun reflects off the opposite YMCA, it hits the concrete walls of the building and creates little pockets of glimmering light all over the front of the church.  The curtain-like folds in the archways and ceilings especially represent the time period of when the church was built.  The architectural style of the church is very art-deco and places its creation in the 1930’s.  

My gaze turns to see a quote etched into the concrete back wall.  It reads, 

“While women weep, as they do now,

I'll fight

While little children go hungry, as they do now, 

I'll fight

While men go to prison, in and out, in and out, as they do now, 

I'll fight

While there is a drunkard left, 

While there is a poor lost girl upon the streets, 

While there remains one dark soul without the light of God, 

I'll fight-I'll fight to the very end!” 

-William Booth, founder of the Salvation Army.  

This quote, along with the time period in which the church was built reminds me of Dorothy Day and her mission.  As this Salvation Army church was being commemorated, it is possible that not too far in the West Village, Dorothy Day and Peter Maurin might have been putting together and publishing their first issue of the Catholic Worker movement.  

It seems that this text captures the mission statement that Dorothy Day lived by when running the Catholic Worker movement.  The author of this quote is passionate about fighting for the rights of the marginalized, just like Day was.    

Moreover, the location of this church fits in well with the message that is being preach—which is to evangelize to and provide help to those in need.  And ‘those in need’ today were the same people in need during Dorothy Day’s time: the poor, the disabled, the drug addicts, the alcoholics, the prostitutes, the homeless, the parentless children, the list goes on.  At 120 W 14th Street, between the 1, 2, 3 and F, M and L trains, and two blocks from Union Square, there is always a lot going on.  People are walking quickly, trying to reach their destination, homeless people begging on the sidewalk, and druggies sitting on those same steps outside the church.  So while there is this church with a call to action similar to Day’s, to fight for those who cannot fight for themselves, it is interesting to see these troubled men sitting right under it, still in need.  An edifice such as this, with its great depth and presence embodies just how vast the issue of helping people in need in New York is.  It is not something that can be done overnight or even within a few years. Dorothy Day understood this, and perhaps this church, The Salvation Army, understands this.  It is a process.  Helping people in need requires a lot of grace, a lot mercy a lot love and a lot of fight.  

Our Lady of Guadalupe in Astoria, Queens

Astoria, a diverse neighborhood in Queens, is a melting pot of various ethnic groups.  Italian, Greek, Irish, German, Russian, Spanish, Hispanic, and Arabic individuals inhabit the buildings of Ditmars Boulevard and Steinway Street.  These individuals open businesses, such as restaurants and lounges, which are typically geared towards their particular ethnic group or anyone who may be interested in experimenting with different cultural flavors.   Although Astoria is an obvious example of a multi-cultural environment, there is a high concentration of individuals who adhere to and practice Christianity, particularly Catholicism.  One such community is the Latin American or Hispanic population of Astoria.  Generally speaking, Latin American and Spanish-speaking countries tend to be religious, so it is not surprising that religion should play such an important role in their established communities here in the United States, particularly in Queens.

While in the midst of a relaxing drive through the local neighborhood with a friend of mine, he turned to me and asked me if I would like to join him on a little adventure.  I agreed, and we made the next left.  After traveling southward for several streets, I noticed splashes of colors and vivid designs that littered the walls of apartment complexes and shops.  Considering the surprising fact that I am an avid lover of street art and graffiti, I asked my friend to continue his route through a predominantly Hispanic location or neighborhood near 30^th Avenue and 12^th Street.  After several moments, we stumbled upon an image of Our Lady of Guadalupe.

Our Lady of Guadalupe

Our Lady of Guadalupe is "the patron saint of the Mexicans." (Matovina, 66)  The prime reason for the location of the image corresponds to the demography of the surrounding area.  As previously stated, the neighborhood is predominantly Hispanic, and it would seem logical to assume that perhaps a high percentage of Mexican individuals inhabit the neighborhood. 

The image is quite breath-taking in person.  In addition to the plain and sheer immensity of the image, the colors are vivid and help bring the image of Our Lady of Guadalupe to life. The eyes of Our Lady of Guadalupe look down upon the viewer with humility and compassion.  The mantle of Our Lady of Guadalupe is blue-green or turquoise.  To the native Mexican people, this color is representative of the gods and of royalty.  The color represents the natural forces of life, fruitfulness, and fertility, as well. The gold border of her mantle is an additional sign of nobility and prestige.  The stars on the mantle convey the notion that Our Lady of Guadalupe is from heaven.  Although Our Lady of Guadalupe reigns as the Queen of Heaven, she approaches her people with the eyes of a humble, kind, and loving mother. The stars convey the supernatural element of the image, as well as the divinity of the subject.  The color of her dress is rose, which can potentially symbolize martyrdom for the faith of divine love.

The United States of America is a country that was found and built based on the idea of religious freedom or freedom from persecution based on the beliefs and convictions one may hold.  Ironically, the United States of America has a history of discriminating against various groups of individuals. One such group is the Catholic denomination of Christianity. Although Protestantism and Catholicism are sects of Christianity, there are fundamental differences between the two manifestations of the faith.  In the eyes of the Protestants, Catholicism was seen as the biggest threat to and fault of Christianity.  Compared to the simplistic and authentic rituals of the Protestant faith, the ornate and elaborate rituals and decorations that were prevalent in Catholic services made the United States of America uncomfortable and highly anti-Catholic in the 1820's and the 1830's, when there was an influx in the number of Catholic immigrants entering the United States from Ireland and Italy.  Catholics in general, regardless of nationality, were classified as threats to the integrity of the United States.  One main reason for the fear of Catholics that arose during this period of time relates to the Pope and his role as the successor of St. Peter, who presides over the Church with God-ordained authority.  Although the United States exhibited an anti-Catholic and an anti-immigrant attitude towards these preconceived threats to the integrity of the nation, the United States upheld the notion of the Manifest Destiny Doctrine.  Manifest Destiny is a term for the prevalent attitude in the 19^th century that held that the United States could, and was destined to, stretch from coast to coast.  This attitude fueled settlement in the western portion of the country, the removal of Native American or indigenous populations, and a war with Mexico.

In addition to the belief that Roman Catholicism represented a threat to the integrity of the United States, there were certain negative assumptions about Mexicans that contributed to the poor reception of the community as a whole.  Although the Catholic, European nation of Spain introduced Mexico to Roman Catholicism, Mexicans were accused of being unorganized and not devout.  However, these false ideas were soon to be shattered by visual evidence of the extreme and undying devotion of the Mexican people to Catholicism.  For example, after the U.S. takeover of southern Texas, priests stationed in certain towns visited the ranchos, where Catholics culminated, periodically to administer the sacraments, give religious instruction, and participate in feast-day celebrations.  One rancho in particular that was noted for its Guadalupan devotion was Santa Rita, where a wooden chapel was constructed to honor their patroness.  The chapel served as a pilgrimage site for residents near the Rio Grande. (Matovina, 65)  The ceremony performed by the 700 or 800 Mexican devotees that were present was interesting.  Choruses were sung, young girls in white attire bore poles that were ornamented with streamers and flowers, and rosaries were recited before the ceremony came to a conclusion with the advent of amusements and instances of cordial hospitality. (Matovina, 66-67)  

Twenty-three years later (1874) in the Colorado city of Conejos, a Jesuit priest provides comments on "one of the most joyous and delightful days ever seen in Guadalupe." (Matovina, 73)  The celebration for Our Lady of Guadalupe was well planned and organized, the crowd in attendance was large, and people came from various regions, not simply from the local vicinity.  Similar to the aforementioned ceremony, the celebration at Conejos featured hundreds of individuals and various elaborate occurrences.  A prevalent theme is to dress the young girls in white attire, probably symbolic of the nature of their purity.  The priest concludes the letter with a remark pertaining to the devotion and enthusiasm of the faithful, which says much for the religious spirit of the Mexican people.

In light of the historical context, it is safe to say that the Mexican population is a devote group of Catholics.  In keeping with the early criticisms of the Roman Catholic Church, the ceremonies are ornate and elaborate.  However, the criticisms did not cause the Mexicans to waver in their devotion to the figures of Catholicism, namely Our Lady of Guadalupe.  Our Lady of Guadalupe can be seen as a religious symbol that is representative of the religion of the particular group of people, or Our Lady of Guadalupe can be seen as a symbol that is representative of the nationalism that is felt by the Mexican people in regards to the love that they must have for their country of Mexico and for their heritage.  Although they are not physically in Mexico, the people have a clear affinity to the local beliefs and traditions of the native Mexican people.  These beliefs and tendencies are physically showcased with the image of Our Lady of Guadalupe.  In a predominantly Hispanic neighborhood, it seems natural for the inhabitants to unite into one collected and unified body in order to establish a sense of togetherness.  The symbol of the Mexican people in a Hispanic neighborhood is marked by the presence of a large image of Our Lady of Guadalupe.  The image is a form of identification and unification. 

The image of Our Lady of Guadalupe contributes to the plethora of other religious images and institutions that are scattered throughout the area.  A Catholic Church is located around the corner from the image.  The general presence of religious articles in the area reinforces the notion that the Mexican people are both personally and culturally devout.  Fortunately, Catholics in the former centuries survived the extreme implications of prejudice and persecution.  Today, Catholics like the Mexicans are allowed to publicly display their love of Catholicism and its customs and traditions. Additionally, their religion serves as a testament to their perseverance in the face of obvious challenges to their faith.  The strength that religion provided the Mexican people with in times of hardship is the same religion that binds them together and unifies them under a single identity in the Kingdom of God.

Spread the L O V E

           

In the booming Soho neighborhood of downtown Manhattan are the four letters “L O V E” written vertically down the side of a wall on Greene Street. I have taken this route to work over the past year and a half and this small piece of art has been a constant in my commute. There are many other pieces of graffiti I have seen come and go or have been painted over, but this one remains still.

This word written on a wall had not seemed like a significant piece of work since I first saw it due to the, what I believe, overuse of it in every day life. I felt like it had a bit of a cliché meaning to it such as when a pageant contestant answers “world peace” to the question of what she wishes for the world. This then had me questioning the intention of the artist. Maybe they simply just believe more love is needed within our society and wanted to remind people of the love they should distribute more of into the world. Or perhaps it was in relation to a religious view of their own.

Art related to religion would be expected to be a large mural of Jesus or even a small illustration of a cross, but focusing in on the many concepts religion possesses, the simple word “love” could also very well be related. Love is constantly mentioned throughout the Bible with a direct address to love as follows: “So now faith, hope, and love abide, these three; but the greatest of these is love” (1 Corinthians 13:13). There are many other examples the Bible holds in relation to helping guide people to love their enemies, love their neighbors, and most importantly love God.

American theologian Reinhold Niebuhr also relates his concept of religion to love. Niebuhr identifies the purest religion as love that involves being unselfish and is a permanent contribution to a moral life. He does not preach that love will ultimately make a moral man, but rather directs to the importance of dualism between love and coercion to work toward a perfect justice. He concludes his argument by saying, ”To some degree the conflict between the purest individual morality and an adequate political policy must therefore remain.”                                                

A part of Buddhism is to practice loving-kindness and compassion that could lead a lost or suffering person to peace. Many theories within religion relate back to the concept of love. Maybe we ignore this significant relation because love is a part of human nature and it is something to be expected and rather foolish to have to tell somebody to love. However, it being expected could cause for a greater reason to help remind society of love as this artist does. Maybe the artist is calling upon the public to question love and where it derives from and how it relates to our everyday lives. Maybe he/she is asking us to remember the importance of love in the religion that keeps us going each day.

The intention of the artist may never be discovered, but this small piece of work is a great example of life’s every day reminders to reflect upon the concepts that lead back to the origins of our every day beliefs.

The Tempest

The Tempest

In Central Park there is a statue. There are many statues, all throughout Central Park and New York City. The statue that I am speaking about shows a scene from The Tempest, the Shakespeare work. It sits outside a theater in Central park at about 80^th street, the statue shows the emotion, mystery, and message of a religious artifact. Sitting near this statue it is easy to think of Shakespeare’s writing as distant, separate from the lives of New Yorkers, and certainly not of religious significance… However in this statue, like any work of art, in the opinion of historical New Yorker Henry Ward Beecher, “the element of beauty is organic, creative, and divine (Page 217, in “Religion and The Beautiful”, 1864)

So, taking Beecher’s advice, I sit and think about the art of The Tempest. It is interesting to think of the parallels between religion and art, in how they are interpreted, in how they are lasting.

Even though the statue does not have overt religious symbolism, it is certainly brings up biblical and historical comparisons. 

The Laocoon statuary came to mind, (picture from Wikipedia), as did the story of Abraham and Isaac.

 Genesis 22:2 says :”Then God said, “Take your son, your only son, whom you love—Isaac—and go to the region of Moriah. Sacrifice him there as a burnt offering on a mountain I will show you”.

The ability of Abraham to sacrifice his son to God can be contrasted to the display of Prospero to shield his daughter in the statue. Prospero and his daughter Miranda represent a familial ideal in The Tempest, a statue-worthy concept that was certainly considered when the statue was put in.

Art and religion often seek to show a version of the world that is to be emulated, and in this sculpture, the emotion and fatherly role of Prospero, as well as the beauty and serenity of the public art, are all positive sources of emulation.

Art and beauty serve an interesting function within religion, and certainly a varied function as well. In the religion of my youth, a iron-pressed-pants Evangelical Christian Conservatism, Art is a rarity in houses, churches and services. In the traditional Catholic experience, imagery and beauty are important facets of any religious service. Sitting here in Central park it is easy to be caught up in the experience of New York; a place with long histories and beautiful statues, but also, and perhaps more importantly, a place with millions of humans live and work. Each of these humans experience religious events and milestones, whether to convert, commit, detach, or adapt to a religious tradition.

Art, likewise, plays a role in each of these millions of people’s lives. Whether on subway-stop walls, or in the well-put-together galleries off 6^th avenue, Art shapes the way individuals look at the world.

Importantly, the role of art, especially public art, in this religious journey cannot be understated. Art is certainly a supplement to religion in many traditions, and just as the image of God on the Sistine Chapel ceiling supplements the of god in each of our heads, the image of Prospero as a father and protector supplements the image of fatherhood in our collective imagining when looking at this statue.