Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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Article
Creed
Education
5 min read

Our social problems need theology, here’s why

Taking the god’s-eye view develops critical skills
young people listen, and ponder, to a speaker off screen.
M Accelerator on Unsplash.

At secondary school level, Religious Studies continues to attract strong numbers. On the surface, this looks like a healthy sign for the subject. Yet, critics argue that appearances can be deceiving: many faith-based schools make the subject compulsory, artificially pushing up participation. The result is a stark disconnect when students progress to higher education. Here interest appears to drop off sharply, and several universities have been forced to close their single-honours degrees in Theology and Religious Studies due to unsustainable student numbers. 

But this presents a misleading picture – even at tertiary level students are far more interested in Theology and Religious Studies than the statistics seem to suggest. While few undergraduates commit to a full degree in Theology, (in Scotland this is called Divinity) or Religious Studies, partly because career pathways outside of ordained ministry and teaching can seem unclear, many are eager to sample the subject alongside their main studies. This means that at the University of Aberdeen, the department of Divinity finds a different kind of relevance. Thanks to Aberdeen’s flexible degree structure, it is not unusual to find law, sociology, psychology, anthropology, and even physics students sitting in on our undergraduate modules. This interdisciplinary mix brings a distinctive energy to classroom discussions, as well as a few challenges… and challengers.  

Some students arrive never having opened a Bible, never having heard a word from the Qur’an, and never having engaged with any other religious text. Many are openly ambivalent about the existence of God, some downright hostile, and more than a few admit that they were drawn in by the promise of coursework-based assessment rather than traditional exams. Yet, once in the room, most engage with surprising enthusiasm, and even the challengers play a vital role.  

What emerges is a lively space where students approach theology less as a matter of personal faith and more as an intellectual exercise, grappling with life’s big questions, testing out ideas, and debating seriously with the prospect that God exists. Far from diminishing the subject, this shift gives the Divinity department a new role: not as a training ground for clergy, but as a forum for critical thinking across disciplines. 

In one of our courses for example, students are asked to debate this question: if a human chooses to go wild swimming in a crocodile’s natural habitat, does the crocodile have a right to kill and eat that human, as it would any other prey item that strayed into its path? Or, if a person with profound physical and intellectual disability is not able to live out many of the rights and responsibilities envisaged by the United Nations Convention on Human Rights, on what grounds are they still reckoned to be a human person? As we tease out the (multiple) possible answers to these questions, many of the turn out to be surprisingly theological. Whilst some students will work towards becoming better able to affirm and articulate their own atheism, others are surprised to discover that they have been living out a deistic morality all along; on the quiet, their internal moral compass believes in God. 

But my sense is that even if students don’t walk out with an easy A, they walk out with a set of skills that is, in the long run, far more valuable. 

Further to that, in an open letter the Theos think tank recently highlighted the role of theology in the ethical and cultural development of communities. They argue that theological study equips people to engage thoughtfully with different people groups and traditions, to develop skills in interfaith dialogue, and to promote communication across cultural barriers. Put simply: 

“In an increasingly polarised world, it helps us understand other points of view.” 

This insight is highly relevant to our students as they set out on varied career paths in an increasingly complex world. The skills honed in our Divinity classrooms – empathy, critical thinking, close observation, and clear writing – are both essential and transferable. Theology degrees do not lead only to ordination or teaching; they can open doors to careers in journalism, diplomacy, politics, community work, authorship, and screenwriting, among many others. As Professor Gordon Lynch, Professor of Religion, Society and Ethics at the University of Edinburgh, observed at a recent panel discussion: 

“It’s very difficult to think about a major geopolitical issue at the moment in which religion isn’t deeply implicated in some way.” 

The relevance of theological training extends far beyond traditional disciplines. For example, law students will need to recognise not only that a person with profound disability is a human person, but also to understand the deeper ethical and theological reasons why society judges this to be so. International Relations students will need to appreciate why resolving the Israel/Palestine conflict is not as simple as drawing lines on a map, but is rooted in long histories of faith, identity, and belonging – histories which will reach their influence far into the future as well as the present. Sports science and physiotherapy students will need to empathise with the human drive to become ever faster and stronger, while discerning when to help people recognise the limits before injury occurs. 

So, we gather all these students and more into our divinity courses, and work with them as they develop such skills. By discussing these matters as though God exists, in a space where there is unapologetic openness to confessional or deistic ways of looking at the world, students are freed to adopt a third-person standpoint, a “god’s-eye view” if you like, which allows them to critically examine both their own and other people’s perspectives. When this freedom becomes apparent, it is the challengers often find themselves the ones being challenged, and hostility soon morphs into vibrant dialogue. Also, for those who want “an easy A” it quickly becomes apparent that coursework-based assessment is in no way easier than traditional exams – if anything, it can be the opposite! Getting your ideas down on paper, coherently, and with relevant references to research from across disciplines is a sophisticated competency. But my sense is that even if students don’t walk out with an easy A, they walk out with a set of skills that is, in the long run, far more valuable.  

With an eye to business models and balance sheets, many universities don’t think they need their theology departments anymore, and with the current financial precarity faced by the higher education sector, on paper this may be true. But society is crying out for complex ways forwards with complex situations, and the problems of social division are becoming more apparent than ever. Whilst it is clear that fewer and fewer students are choosing to do whole theology degrees, it is also clear the world still needs theologians.

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If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
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