The Wall of Faith
(South-facing side)
The design for the Trinity mural at 2001 Riverside Avenue (as shown on the top banner of our website) uses the traditional symbols for the four evangelists:
Matthew: The man or winged man
Mark: The lion
Luke: The ox
John: The eagle
Matthew traced the genealogy of Jesus, emphasizing His humanity. The image of a man, or winged man, reminds us of this facet of his gospel. Mark begins with the well-known verse: “the voice of one crying in the wilderness.”
A lion's roar comes to mind with that phrase, and a lion's demeanor has always suggested the image of royal dignity...that aspect of our Lord who reigns over creation. Luke's gospel focuses on atonement, and so the ox, as a traditional sacrificial animal is an appropriate symbol. John is associated with the eagle, as his writing is infused with insight and inspiration as he contemplates the divinity of Christ.
The first inspiration for a mural theme, however, originated in a scene found on the back step and parking lot of Trinity’s building on any Wednesday night: groups of children and youth gathered for play and recreation. The theme of Jesus and his love of children came to mind.
As Trinity committed to an African outreach, the ancient Coptic murals in Ethiopia became another inspiration. The use of animal symbols for the evangelists, bright colors and large eyes were elements in this work. The priest’s cap is the sort of cap the orthodox priest wears today in that region, as well as the crucifix he uses when greeting fellow Christians. The Amharic letters were taken from the Amharic translation of the names of the four evangelists.
The mural concept attempted to blend these African styles with the theme of the sacraments of baptism and the Lord's Supper, suggested by the water in the fountain and the people gathering at a table. Neighborly hospitality pulls these themes together with Jesus’ outreach to children. The presence of the Good Shepherd may be hinted at by the presence of the thirsty sheep.
The fish is one of the oldest symbols for Christianity as well as a reference to our location near the river. The use of that symbol today reflects the unbroken stream and continuity of Christian life from the past to the present.
In Greek, the acrostic of “Jesus Christ, Son of God, Savior” spells fish. Drawing the simple diagram of the fish was a way for these early persecuted Christians to identify themselves to one another and express their faith in a disguised manner so as not to arouse suspicion by the authorities.
Our hope is that Trinity's mural will contribute to our neighborhood with visible hand-painted images that help reveal the INVISIBLE things of the Spirit.
Matthew: The man or winged man
Mark: The lion
Luke: The ox
John: The eagle
Matthew traced the genealogy of Jesus, emphasizing His humanity. The image of a man, or winged man, reminds us of this facet of his gospel. Mark begins with the well-known verse: “the voice of one crying in the wilderness.”
A lion's roar comes to mind with that phrase, and a lion's demeanor has always suggested the image of royal dignity...that aspect of our Lord who reigns over creation. Luke's gospel focuses on atonement, and so the ox, as a traditional sacrificial animal is an appropriate symbol. John is associated with the eagle, as his writing is infused with insight and inspiration as he contemplates the divinity of Christ.
The first inspiration for a mural theme, however, originated in a scene found on the back step and parking lot of Trinity’s building on any Wednesday night: groups of children and youth gathered for play and recreation. The theme of Jesus and his love of children came to mind.
As Trinity committed to an African outreach, the ancient Coptic murals in Ethiopia became another inspiration. The use of animal symbols for the evangelists, bright colors and large eyes were elements in this work. The priest’s cap is the sort of cap the orthodox priest wears today in that region, as well as the crucifix he uses when greeting fellow Christians. The Amharic letters were taken from the Amharic translation of the names of the four evangelists.
The mural concept attempted to blend these African styles with the theme of the sacraments of baptism and the Lord's Supper, suggested by the water in the fountain and the people gathering at a table. Neighborly hospitality pulls these themes together with Jesus’ outreach to children. The presence of the Good Shepherd may be hinted at by the presence of the thirsty sheep.
The fish is one of the oldest symbols for Christianity as well as a reference to our location near the river. The use of that symbol today reflects the unbroken stream and continuity of Christian life from the past to the present.
In Greek, the acrostic of “Jesus Christ, Son of God, Savior” spells fish. Drawing the simple diagram of the fish was a way for these early persecuted Christians to identify themselves to one another and express their faith in a disguised manner so as not to arouse suspicion by the authorities.
Our hope is that Trinity's mural will contribute to our neighborhood with visible hand-painted images that help reveal the INVISIBLE things of the Spirit.
Abraham & His Children
(West-facing side)
The Abraham mural was designed as the Old Testament counterpart to the New Testament theme of the south wall’s mural of Jesus with the children and the gospel writers. Like Jesus, Abraham loved children. After waiting a lifetime, God’s promise of descendants (“as countless as the stars”) was filfulled when Ismael and his younger brother Isaac were finally born.
Their mothers, Hagar and Sarah, are depicted at the front of the crowd of descendants that gather near the colorful tent. The people look up to Abraham, with a glow of anticipation and wonder at his arrival. The flowing water at the well could refer to the heart-stopping event when Hagar and Ismael, having been sent out of the household and into the desert and were dying of thirst and despair, when God revealed a well of cool water to them. Water imagery, like the “fountain of life” in the Old Testament may be thought of as a precursor to the precious well of living water, the means of our rebirth at the baptismal fount.
The entire scene could be regarded as a kind of “mystical family reunion” with Abraham meeting his family again at a well or oasis; their assemble may resemble a “tableau vivant” more than any specific narrative. Like the impulse to document those present at a reunion, in a photograph, we have represented the extended family of faith with paint, in mural form.
Abraham, the earliest man of faith, is claimed by numerous faith communities and cultures. The phrase “Abraham, father of nations” is painted in English, Hebrew, Arabic, Amharic and Somali on rug like green rectangles. The Abraham motif provides a way to reach out to our new African neighbors in the West Bank; it allows for familiar African imagery to be illustrated. For example, the camel is a central icon of East Africa, a beloved animal that offers its all: milk, meat, clothing, transportation, and companionship are some of the gifts supplied to the Africans. Goats are also important for survival in that region; their inclusion was strongly suggested by the director of the Somali Federation of Minnesota. The common East African crowned crane are found in grassy areas. African fabrics are often printed in bold designs like the black and tan geometric pattern found in the horizontal base of the mural. These African images are offered as a welcoming gesture to the immigrants from that continent.
In addition to the African images, the mural contains many references to Christianity through the use of certain colors and symbols. Althought we are no longer as acquainted with these links to Christian themes as other eras were, they still provide the visual vocabulary that can help teach “the person in the street” something of the stories of the Bible. Yellow or gold symbolizes solar light, divine intelligence, or illuminated Truth. This color is found in the arch around the door and in the sun shape behind Abraham. The sun is source of great energy, light and riches. Who else would that be for us, except Christ, our life-giving force. Red is the color of Pentecost and also recalls the Christian martyrs. It is linked to passion, blood, and fire. Sin and suffering are evoked as well. Blue symbolizes heaven. Spiritual love, Truth, and fidelity are facets of blue. In is the color of Mary’s robe. Red, blue and yellow are the primary colors of the spectrum. From these all colors are made. Together, they are the stuff of creation.
In John 15, Jesus tells us that He is the vine and we the branches. It could also refer to the three faiths of the Book: Jewish, Christian and Muslim growing from one shared source. Another way to regard the vine is to see it as the Church, with Christ as the gardener of the vineyard. The palm tree is an ancient Middle East icon symbolizing the TREE OF LIFE, the tree of the immortals. In pre-history, a tree became a symbol of the cosmos itself, its branches reaching up to heaven and its roots reaching down to hell.
Remember the stars that represent the uncountable descendants of Abraham? Here is another meaning to their presence in the palm fronds. Star imagery is found in an endearing 19th century legend that proclaims that on the night that Christ was born, not only did orchards and gardens bloom, the stars settled on bare trees as the first Christmas ornaments!
The triangle clusters on the stairway provide an apt symbol for the Trinity. Always remember that the number 3 is indivisible. . .our One God with 3 aspects; Father, Son and Holy Spirit (Wisdom).
Around the stairway corner, you will find the crowned crane. This bird resembles the better known peacock who you will often spot perched on the roof of the créche in many Renaissance nativity paintings. 16th century Christians regarded the peacock as a symbol of the resurrection. The spectacular bird’s tail feathers renew themselves, becoming more and more brilliant and glorious. In medieval times, the plaintive and haunting wail of the peacock was thought to resemble the cry of the Christians, calling out to God for help.
These notes regarding the Abraham mural are only meant as auxiliary musings about the imagery, themes and process of designing the piece. We hope for a feeling of unity between both murals, now wrapping around 2 walls of the Trinity Lutheran Congregation building. Explore and muse, new associations may occur and offer fresh insights for our community. Let us know what you see and feel about Abraham and His Children!
— Larry Rostad, mural artist / developer, August 2006-2010
© Larry Rostad, All rights reserved.
Their mothers, Hagar and Sarah, are depicted at the front of the crowd of descendants that gather near the colorful tent. The people look up to Abraham, with a glow of anticipation and wonder at his arrival. The flowing water at the well could refer to the heart-stopping event when Hagar and Ismael, having been sent out of the household and into the desert and were dying of thirst and despair, when God revealed a well of cool water to them. Water imagery, like the “fountain of life” in the Old Testament may be thought of as a precursor to the precious well of living water, the means of our rebirth at the baptismal fount.
The entire scene could be regarded as a kind of “mystical family reunion” with Abraham meeting his family again at a well or oasis; their assemble may resemble a “tableau vivant” more than any specific narrative. Like the impulse to document those present at a reunion, in a photograph, we have represented the extended family of faith with paint, in mural form.
Abraham, the earliest man of faith, is claimed by numerous faith communities and cultures. The phrase “Abraham, father of nations” is painted in English, Hebrew, Arabic, Amharic and Somali on rug like green rectangles. The Abraham motif provides a way to reach out to our new African neighbors in the West Bank; it allows for familiar African imagery to be illustrated. For example, the camel is a central icon of East Africa, a beloved animal that offers its all: milk, meat, clothing, transportation, and companionship are some of the gifts supplied to the Africans. Goats are also important for survival in that region; their inclusion was strongly suggested by the director of the Somali Federation of Minnesota. The common East African crowned crane are found in grassy areas. African fabrics are often printed in bold designs like the black and tan geometric pattern found in the horizontal base of the mural. These African images are offered as a welcoming gesture to the immigrants from that continent.
In addition to the African images, the mural contains many references to Christianity through the use of certain colors and symbols. Althought we are no longer as acquainted with these links to Christian themes as other eras were, they still provide the visual vocabulary that can help teach “the person in the street” something of the stories of the Bible. Yellow or gold symbolizes solar light, divine intelligence, or illuminated Truth. This color is found in the arch around the door and in the sun shape behind Abraham. The sun is source of great energy, light and riches. Who else would that be for us, except Christ, our life-giving force. Red is the color of Pentecost and also recalls the Christian martyrs. It is linked to passion, blood, and fire. Sin and suffering are evoked as well. Blue symbolizes heaven. Spiritual love, Truth, and fidelity are facets of blue. In is the color of Mary’s robe. Red, blue and yellow are the primary colors of the spectrum. From these all colors are made. Together, they are the stuff of creation.
In John 15, Jesus tells us that He is the vine and we the branches. It could also refer to the three faiths of the Book: Jewish, Christian and Muslim growing from one shared source. Another way to regard the vine is to see it as the Church, with Christ as the gardener of the vineyard. The palm tree is an ancient Middle East icon symbolizing the TREE OF LIFE, the tree of the immortals. In pre-history, a tree became a symbol of the cosmos itself, its branches reaching up to heaven and its roots reaching down to hell.
Remember the stars that represent the uncountable descendants of Abraham? Here is another meaning to their presence in the palm fronds. Star imagery is found in an endearing 19th century legend that proclaims that on the night that Christ was born, not only did orchards and gardens bloom, the stars settled on bare trees as the first Christmas ornaments!
The triangle clusters on the stairway provide an apt symbol for the Trinity. Always remember that the number 3 is indivisible. . .our One God with 3 aspects; Father, Son and Holy Spirit (Wisdom).
Around the stairway corner, you will find the crowned crane. This bird resembles the better known peacock who you will often spot perched on the roof of the créche in many Renaissance nativity paintings. 16th century Christians regarded the peacock as a symbol of the resurrection. The spectacular bird’s tail feathers renew themselves, becoming more and more brilliant and glorious. In medieval times, the plaintive and haunting wail of the peacock was thought to resemble the cry of the Christians, calling out to God for help.
These notes regarding the Abraham mural are only meant as auxiliary musings about the imagery, themes and process of designing the piece. We hope for a feeling of unity between both murals, now wrapping around 2 walls of the Trinity Lutheran Congregation building. Explore and muse, new associations may occur and offer fresh insights for our community. Let us know what you see and feel about Abraham and His Children!
— Larry Rostad, mural artist / developer, August 2006-2010
© Larry Rostad, All rights reserved.