Discover the seen and unseen

What does it all look like in the light? The vision for Seen & Unseen.

Graham Tomlin

Graham is the Director of the Centre for Cultural Witness and a former Bishop of Kensington.

The IRAM 30-meter telescope under the night sky.

IRAM-gre, via Wikimedia Commons

As someone once said, everyone has an angle, so it's a fair enough question to ask what our angle is.

In 325 AD a conference of bishops, many of whom carried in their bodies the scars of persecution, met in a small town called Nicaea in what is now northern Turkey. They slowly hammered out a visionary statement that described what the early Christians believed - a whole new way of looking at the world based around the belief that God the Creator had entered the world in the person of a Jewish teacher, Jesus of Nazareth.

That document, commonly known as the Nicene Creed, is the one Creed that is accepted and used across the entire Christian Church, so it’s good enough for us.

Our conviction, however, is that this framework, rather than closing down thinking, opens up a much more expansive and energising space for thought and acting than secular visions can offer.

For example, the Nicene Creed also describes God as the maker of all things, 'seen and unseen', picking up a phrase St Paul had written three hundred years before. We thought that summed up pretty well what we're about - we're interested in the Seen - what we all know and talk about all the time - economics, politics, society, law, the arts, the planet and its future - but also the Unseen realities that make sense of the seen - the mysterious, the numinous, the reality of the spiritual realm, the kingdom of heaven.

This Christian framework is not one that can be simply tacked onto a secular mindset but is a different way of viewing the world. Therefore, our aim is not to debate with those who don't share our faith as to who can prove their case, but to do our best to describe the world as Christians (of many kinds and perspectives) see it. Our task on this website is not to answer simplistic questions with simplistic answers, but to ask ourselves and others: what do politics, economics, the arts, technology, biology, leisure, geography, housing - in other words everything - look like in the light of the coming of Jesus into the world. And if we can do that well, we can be both a window and mirror to the societies we live in.

We believe there is wisdom in the two thousand years of Christian reflection on what it means to be human, and what it means to be good - on God, nature, community, work, and everything else - wisdom that has been discarded too quickly in western societies. We also think that the rapid discarding of Christian faith, and the failure to replace it with any kind of convincing common story is a disaster for our culture, leaving it open to fragmentation and culture warfare. Not that we’re advocating a return to Christendom - the Church made too many mistakes for misty-eyed nostalgia about that. But we do think Christian faith has the intellectual and spiritual depth to help renew and revive cultures today. Whether it does or not is beyond our pay-grade. Our job is just to tell the story as best we can.

Christians think a great deal about their faith and the cultures in which they live. Yet much of that wisdom is locked up inside long books that few people read. We want to make that wisdom accessible to a much wider audience. So, what you'll find here is material that is thoughtful, accessible to non-specialists, the fruit of deep thinking both about the Christian tradition and contemporary life, and can help you not only think more clearly, but live a better life.  

We may critique ideas, but will try not to attack people. We want to be generous, curious, confident about the faith, open to criticism and new ideas, intelligent, accessible, and patient. We don't want to be competitive, aggressive, reactive, fearful, or closed-minded.

Read our articles. Listen to our podcasts. Expand your thinking. Feed and satisfy your curiosity. Discover a world that is greater, more full of meaning and sense than you ever imagined.  

Article

Christmas culture

Creed

18 December 2023

4 min read

For the knowing of the how: creating at Christmas

Learning a new craft unfolds the layers of meaning Christmas is clothed in.

Andrew Davison

Andrew works at the intersection of theology, science and philosophy. He is Canon and Regius Professor of Divinity at Christ Church, Oxford.

A white crocheted angel decoration against a dark background.

Kelly Sikkema via Unsplash.

Childhood Christmas was for me a time of craft and productivity, of baking and decorating, of paper chains and printing cards with dissected potatoes. Christmas was all about making, so homemade presents outshone everything else.

That was fine if you were a painter, knitter, sculptor, seamstress, or woodworker, and each member of my family was at least one of those things. I was the odd one out: at least until the autumn before last, when I took up crochet.

My inspiration came from John Milbank: theologian, philosopher, political theorist, poet, and general ruffler of feathers. Not, I have to say, because he sets example with hook and yarn. Rather, he’d written an essay, an essay that spoke to me, as someone often in art galleries but rarely making. We get so invested in fine art, he wrote, that we forget the priority of applied art, of craft and decoration. That’s the foundation. The art we go to see in museums is great only if it succeeds in ‘intensifying this art which is proper to humanity as such.’ So, I took up crochet.

Crochet, as I hoped, is rather like playing the recorder. It’s not too difficult, even at the beginning, but has plenty of scope for complexity and skill. I’m now three blankets in, plus six cushion covers and a hat. Even my first efforts were gratefully received as presents, and I some of my recent work is much more intricate, and not half bad.

I’ve finally joined the ‘Christmas is about making’ project: and Christmas really is about making. John Donne put it like this, addressing the Virgin Mary:

… yea thou art now
Thy Maker’s maker, and thy Father’s mother;
Thou hast light in dark, and shutst in little room,
Immensity cloistered in thy dear womb.

Mary becomes her ‘Maker’s maker’. In a further twist, which Donne would appreciate, Mary’s child grew up to be a carpenter, or – as the Greek would better be translated – an all-round, general purpose village maker: from hearths to homes, from shelves to structures.

In thinking about how God took up a human life, writers have often turned to the language of making. In the same poem, Donne has God weaving himself a kind of garment in Mary’s womb: ‘He will wear, / Taken from thence, flesh’. Thomas Pestel (1586–1667) opens an unjustly forgotten Christmas hymn like this:

Behold, the great Creator makes
Himself a house of clay,
a robe of virgin flesh He takes
which He will wear for aye.

More familiar still is Charles Wesley’s ‘Hark the Herald Angels Sing’, with its lines:

‘Veiled in flesh the Godhead see, / Hail the incarnate Deity!’

The language of wearing, of robes and veils, hasn’t always fared well among theologians. I heard of one stern tutor in doctrine who would look round the chapel whenever Wesley’s carol was sung, reserving a stern word for any student who failed to fall silent at that line. He didn’t like the implication that God was merely draped in humanity, making only an outward show of being human.

Thomas Aquinas saw that worry, writing in the thirteenth century, but argued for charity. The language of clothing isn’t perfect, but we shouldn’t expect it to be. Illustrations gesture towards the truth, they aren’t identical with it, and all the more when we’re talking about God. As long as we don’t think expect the clothing image to say all that needs to be said, there’s mileage to it. For one thing, clothing can make someone visible (as the late Queen knew very well): ‘veiled in flesh, the Godhead see’. Moreover, Christ’s humanity was shaped by his divinity, like a garment is shaped by the body of the one who wears it, yet the body remains unchanged (and so does the garment), just as God became human without becoming any less divine.

Alongside clothing, Pestel also suggested God working with clay:

‘Behold, the great Creator makes / Himself a house of clay’.

That takes up, and reworks, another textile image. John’s Gospel gets to the heart of the Christmas message with a line so solemn that Christians have been accustomed to drop to their right knee on hearing it read: ‘And the Word was made flesh, and dwelt among us’. That’s how we know it, but a more accurate translation is that the Divine Word ‘pitched his tent among us’. The houses that Pestel knew, however, were made of bricks not cloth, which is to say of clay, so he adapted the image. Or, just as likely, with that clay, he had the ‘house’ of the human body in mind. That would recall lines in Genesis, where God makes Adam out of clay, or ‘the dust of the ground’. In fact, the Hebrew word ‘Adam’ means just that – something like ‘earthling’ – just as ‘human’ is related to the Latin ‘humus’, meaning soil.

Whether weaving and wearing, or building, or sculpting, or potato printing, this is the message to stop us in our tracks at Christmas: that the Maker made himself human. There is something beautiful that we greet that with homemade presents, with printing cards, with decorating and baking, with craft and productivity, with paint and cloth, paper, wood, and yarn, and with that sublime sort of making that is music. As Pestel puts it, in closing ‘Behold, the great Creator makes’