In so many paintings depicting the Wedding at Cana story, the astonishing lavishness of what Jesus provides is diminished ~ especially when set side-by-side with the portrayal of what the wedding hosts provide. We miss seeing the heart of this story ~ that through Jesus, the abundance of divine glory comes into a world colored by human scarcity. For he is the true ‘host’ even if, at first, his abundant gifts seem hidden. Peter Koenig’s larger painting, of which this is only a portion, captures all this beautifully. Here, we see another section of it, which obviously depicts the Cana theme.
As we have previously noticed, Koenig’s painting is profoundly biblical while not being literal. For he is faithful to John’s highly symbolic and mystical, rather than literal, approach. And so, though we see the stone water jars mentioned by John, we find Jesus and his mother portrayed in a more contemporary setting, complete with a modern-looking table and wine glasses. Once again, we need to ‘read’ the symbolic imagery to grasp the fuller significance of what both John’s Gospel and Peter Koenig’s painting offer to us.
The center of Koenig’s larger painting portrays a vision of the New Jerusalem, the city of God, coming down from heaven (for a more complete view, see the prior post, below). This image follows what we find described in the Book of Revelation. This New Jerusalem becomes God’s dwelling place among God’s people. And at its center is the enthroned Lamb, with his ‘bride’ the Church at his side. From the Lamb’s side comes the water of life, pouring into the fallen but being redeemed world. The cleansing and purifying water of life fills the jars, as well as provides the context for Baptism. And as Peter Koenig mystically portrays, this water then becomes the very good wine which is served at the wedding feast.
Revelation also speaks of the marriage supper of the Lamb, where saints and martyrs join him in the heavenly realm. Koenig portrays the company of these holy ones standing before and around the throne, apparently bearing gifts. If you look closely, you will see that they are carrying the instruments of their martyrdom, while one of them leads what surely represents a colosseum lion. In several places in the painting, we see what Revelation refers to as the tree of life standing near them and near the gushing living water. For those who have died to the powers of this world are alive to the power of the next.
Among so many paintings representing the Cana story, this may be among the most faithful to what John wants us to see, and to believe. And John’s Cana story, like the whole of his Gospel, is about the wedding of the human and the divine, in Jesus.
This detail of Peter Koenig’s larger painting is reproduced here with the artist’s kind permission. This and other examples of his religious artwork can be seen by visiting the website of his parish church, where much of it is displayed (click here). This post is based on my homily for Sunday, January 20, 2019, which can be accessed by clicking here. Other homilies of mine may be accessed by clicking here. The Revised Common Lectionary, which specifies the readings for Sundays and other Holy Days, can be accessed by clicking here.
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