THYME Magazine: Building the Kingdom V

Citizen Journalism with a Better Flavor


Volume IX, Issue XVII

The Kingdom of Restoration

And I saw a new heaven and a new earth: for the first heaven and the first earth were passed away; and there was no more sea. And I John saw the holy city, new Jerusalem, coming down from God out of heaven, prepared as a bride adorned for her husband. And I heard a great voice out of heaven saying, Behold, the tabernacle of God is with men, and he will dwell with them, and they shall be his people, and God himself shall be with them, and be their God. And God shall wipe away all tears from their eyes; and there shall be no more death, neither sorrow, nor crying, neither shall there be any more pain: for the former things are passed away.

And he that sat upon the throne said, Behold, I make all things new. And he said unto me, Write: for these words are true and faithful. And he said unto me, It is done. I am Alpha and Omega, the beginning and the end. I will give unto him that is athirst of the fountain of the water of life freely. He that overcometh shall inherit all things; and I will be his God, and he shall be my son. But the fearful, and unbelieving, and the abominable, and murderers, and whoremongers, and sorcerers, and idolaters, and all liars, shall have their part in the lake which burneth with fire and brimstone: which is the second death.

And there came unto me one of the seven angels which had the seven vials full of the seven last plagues, and talked with me, saying, Come hither, I will shew thee the bride, the Lamb's wife. And he carried me away in the spirit to a great and high mountain, and shewed me that great city, the holy Jerusalem, descending out of heaven from God, Having the glory of God: and her light was like unto a stone most precious, even like a jasper stone, clear as crystal; And had a wall great and high, and had twelve gates, and at the gates twelve angels, and names written thereon, which are the names of the twelve tribes of the children of Israel: On the east three gates; on the north three gates; on the south three gates; and on the west three gates. And the wall of the city had twelve foundations, and in them the names of the twelve apostles of the Lamb. And he that talked with me had a golden reed to measure the city, and the gates thereof, and the wall thereof. And the city lieth foursquare, and the length is as large as the breadth: and he measured the city with the reed, twelve thousand furlongs. The length and the breadth and the height of it are equal.

And he measured the wall thereof, an hundred and forty and four cubits, according to the measure of a man, that is, of the angel. And the building of the wall of it was of jasper: and the city was pure gold, like unto clear glass. And the foundations of the wall of the city were garnished with all manner of precious stones. The first foundation was jasper; the second, sapphire; the third, a chalcedony; the fourth, an emerald; The fifth, sardonyx; the sixth, sardius; the seventh, chrysolyte; the eighth, beryl; the ninth, a topaz; the tenth, a chrysoprasus; the eleventh, a jacinth; the twelfth, an amethyst. And the twelve gates were twelve pearls: every several gate was of one pearl: and the street of the city was pure gold, as it were transparent glass.

And I saw no temple therein: for the Lord God Almighty and the Lamb are the temple of it. And the city had no need of the sun, neither of the moon, to shine in it: for the glory of God did lighten it, and the Lamb is the light thereof. And the nations of them which are saved shall walk in the light of it: and the kings of the earth do bring their glory and honour into it. And the gates of it shall not be shut at all by day: for there shall be no night there. And they shall bring the glory and honour of the nations into it.

And there shall in no wise enter into it any thing that defileth, neither whatsoever worketh abomination, or maketh a lie: but they which are written in the Lamb's book of life.

And he shewed me a pure river of water of life, clear as crystal, proceeding out of the throne of God and of the Lamb. In the midst of the street of it, and on either side of the river, was there the tree of life, which bare twelve manner of fruits, and yielded her fruit every month: and the leaves of the tree were for the healing of the nations. And there shall be no more curse: but the throne of God and of the Lamb shall be in it; and his servants shall serve him: And they shall see his face; and his name shall be in their foreheads. And there shall be no night there; and they need no candle, neither light of the sun; for the Lord God giveth them light: and they shall reign for ever and ever. -- Revelation 21,22:1-5

Creative Mandate of Genesis 1
The Unique Responsibility Conferred in Imago Dei



And G-d said, Let us make man in our image, after our likeness: and let them have dominion over the fish of the sea, and over the fowl of the air, and over the cattle, and over all the earth, and over every creeping thing that creepeth upon the earth.

So G-d created man in his own image, in the image of G-d created he him; male and female created he them.

And G-d blessed them, and G-d said unto them, Be fruitful, and multiply, and replenish the earth, and subdue it: and have dominion over the fish of the sea, and over the fowl of the air, and over every living thing that moveth upon the earth." -- Genesis 1:26-28

New York artist, Makoto Fujimura and others have found in the first chapters of Genesis, a unique charge to mankind. Scripture states that mankind alone bears the Divine image, and as such carries unique responsibility. G-d calls on Man, created in his own image, to 'replenish' the Earth. Many read over this passage and see it as similar to the charge given to fish and fowl... to populate the planet, but read further and G-d involves mankind in something far greater:

And out of the ground the Lord God formed every beast of the field, and every fowl of the air; and brought them unto Adam to see what he would call them: and whatsoever Adam called every living creature, that was the name thereof." -- Genesis 2:19

Here the Divine does not simply present animals to the newly formed person and tell that person their names... G-d invites Adam into the studio, as it were, and charges him with naming the new creations!

Fujimura and others see in this a Divine mandate: if those gifts of creativity... expressed in the art, culture and industry of mankind, are indeed an extension of 'Imago Dei, their exercise takes on a new importance.

Dr S. Lewis Johnson writes: "One of the scientists who has written on the Book of Genesis has said, “The first introduction of animal life was not a fragile, blob of protoplasm that happened to come together in response to electrical discharges over a primeval ocean as evolutionists believe. The water swarmed with swarms of living creatures.” But we are not to think from this statement, "Let the waters teem with swarms of living creatures” that it is the waters that have brought forth these creatures. It is evident that they are the product of the word of G-d. It is not they, the waters who have created. It is G-d who has created. So when we read, “Then G-d said”, the power of this creation rests in the word of the Lord G-d. So the creation is from G-d, but as a result of his word the waters teem with swarms of living creatures."

Each new phase of the creation account begins with G-d speaking. In Genesis 2:19 the Divine calls Adam to speak... naming specific elements of what G-d has made.

Today G-d calls the artist to an active role in replenishing society. Indeed the artist has always been at the forefront of the cultural discussion. Sadly, in a world that relegates Faith to a position of diminished importance, the artist who is a person of Faith often has taken a back seat in the dialogue.

The secular world itself gives greater weight to the naturalist, who operates in the gritty world that is seen. Beauty and Truth, particularly when seen as the product of Faith's influence, are discounted. In response, artists of Faith have often settled for a less than transformative role, content to produce icons, but unwilling to participate in the transformation of culture.

This does not mean that only a few great names are to participate. For thousands of years, art has been produced by people in the simplest of cultures. Consider the rich tradition in textiles. People have always blended richness and color into their daily lives. Printing presses have made it possible for everyone to have a Rembrant on their walls... but richness is lost when ink replaces real paint. Consider the joy preschool children experience as they apply color to paper! Society seems to dull that, relegating the flow of color to 'experts,' but it can, and should be recaptured as a part of the human experience... especially as a part of our Worship and Wonder!

In her later years, my physicist Mother found joy in creating woven garments and in throwing pots on her wheel, rekindling that Sacred spark. There resides in Imago Dei a deep need to express one's creative spirit. How wonderful when that expression serves the Divine purpose!

How does the creative mandate align itself with the charge to build the Kingdom of G-d? Most certainly! Pictured here are details of very large paintings a young artist has prepared for Vacation Bible School. Just imagine the wonder of children being surrounded by this majestic world... right out of Genesis 1:22! Imagine the power art, writing, theater and music have in the hands of the Faithful to address our culture today!




Top: Swimming Penguins, Center: Whales, Bottom: Dolphins; Details of 9' x 6' Canvases by Muralist Kristina Elaine Greer prepared for St. John's United Methodist Church in Staunton, Virginia

The Creative Mandate 
of Bezalel and Oholiab
Exodus 35 and 36, Skill, Ability and Knowledge


Xaver Wilhelmy's Design for a memorial at the World Trade Center site in New York. The memorial features a 3000 pipe organ to give a voice to everyone who's voice was lost on that terrible day. Rendering by Bob Kirchman


Xaver Wilhelmy's design for a pipe organ enclosure for St. John's Evangelical Lutheran Church in Davis West Virginia. Model by Bob Kirchman and Kristina Elaine Greer.

Bezalel and Oholiab

Then Moses said to the Israelites, “See, the Lord has chosen Bezalel son of Uri, the son of Hur, of the tribe of Judah, and he has filled him with the Spirit of G-d, with wisdom, with understanding, with knowledge and with all kinds of skills —  to make artistic designs for work in gold, silver and bronze, to cut and set stones, to work in wood and to engage in all kinds of artistic crafts. And he has given both him and Oholiab son of Ahisamak, of the tribe of Dan, the ability to teach others. He has filled them with skill to do all kinds of work as engravers, designers, embroiderers in blue, purple and scarlet yarn and fine linen, and weavers—all of them skilled workers and designers.

So Bezalel, Oholiab and every skilled person to whom the Lord has given skill and ability to know how to carry out all the work of constructing the sanctuary are to do the work just as the Lord has commanded.”

Then Moses summoned Bezalel and Oholiab and every skilled person to whom the Lord had given ability and who was willing to come and do the work. They received from Moses all the offerings the Israelites had brought to carry out the work of constructing the sanctuary." -- Exodus 35:30 - 36:3

In Genesis, G-d invited mankind into the studio to name His creation. Mankind was also given the mandate to 'replenish' creation. When G-d chose to work through a specific people as part of his purpose, he again invited those He had created into His work. Bezalel and Oholiab are specifically mentioned by name. Bezalel, it says, is filled with the "Spirit of G-d, with wisdom, with understanding, with knowledge and with all kinds of skills." Clearly G-d is the giver of artistic gifts. Bezalel and Oholiab both are given the ability to teach by G-d. In the Tabernacle, G-d has these artisans construct the space that He will occupy!

The cubic Sanctuary, the Ark, the tools, fabrics and furnishings were all inspired designs executed by inspired artisans. The Presence of G-d would transform Israel, but Israel participated in building the place for the Presence! Later this same scheme would be repeated in stone and cedarwood for the Temple of Solomon. That form would be repeated in the rebuilt Temple of Zerubbabel's day. The Prophet Haggai again called the people to the work of G-d. Haggai ends his writings looking to a time when G-d will establish His throne in Heaven and on Earth.

In Isaiah 60 and Revelation 21, 22 we see the reign of G-d established and a New Heaven and New Earth. The form of Jerusalem described in Revelation is a cube large enough to encompass all of mankind! Here is restoration of fellowship with G-d and a return to that close fellowship seen in Genesis before the fall. Today the artist who has faith is uniquely equipped -- and called to the building of the Kingdom of Heaven! We possess a mandate to replenish the Earth, to use our gifts in the building of that which G-d is bringing about.

Consider the mission of The Culture House in Kansas City, Missouri. Janie B. Cheaney of World Magazine describes it like this: "an arts organization... that brings a Christian ethos of excellence for the sake of others and cultural leadership for its students." Founded by Jeremiah Enna, the Culture House offers programs in visual arts, dance and theatre... all from a perspective of submitting these gifts to G-d's purpose. In a recent production: Underground, the theatre group tackled the issue of slavery.

The popular narrative often approaches this narrative from the perspective that "America is evil." Underground's producers said instead: "we wanted to show America overcoming evil." Stressing the role of the Church in abolishing slavery, their narrative became: "G-d is the Hero!" In the Centuries past, faith was the inspiration for building great cathedrals and transformative movements in culture. Alvin Schmidt documents much of this in his book: Under the Influence. It is no stretch to conclude that much of our present tolerance for diversity springs from the influence of faith.

In the writings of Moses there are specific protections given to aliens living among the Israelites. In Genesis 12:3 G-d says to Abraham: "...all peoples on Earth will be blessed through you," giving a unique insight into the Divine Heart. The line of David includes Rahab (the woman of Jerico who hid the spies) and Ruth the Moabite. Moses himself had a Cushite wife (she was black). In Isaiah 60 we hear G-d's Heart speak:

Arise, shine, for your light has come, and the glory of the Lord rises upon you. See, darkness covers the earth and thick darkness is over the peoples, but the Lord rises upon you and his glory appears over you. Nations will come to your light, and kings to the brightness of your dawn." -- Isaiah 60:1-3

Foreigners will rebuild your walls, and their kings will serve you. Though in anger I struck you, in favor I will show you compassion. Your gates will always stand open, they will never be shut, day or night, so that people may bring you the wealth of the nations -- their kings led in triumphal procession. For the nation or kingdom that will not serve you will perish; it will be utterly ruined. The glory of Lebanon will come to you, the juniper, the fir and the cypress together, to adorn my sanctuary; and I will glorify the place for my feet. The children of your oppressors will come bowing before you; all who despise you will bow down at your feet and will call you the City of the Lord, Zion of the Holy One of Israel." -- Isaiah 60:10-14

Looking forward to G-d's transformative work, the artist of faith has a unique place and unique giftings to speak into his or her world.


Mr. Wilhelmy worked out the placement of wind chests and pipes using the model built by the Kirchman Studio.


Xaver Wilhelmy's design for functional stained glass organ pipes embedded in a window. Rendering by Xaver Wilhelmy and Bob Kirchman

THYME Magazine: The Good Lie

Citizen Journalism with a Better Flavor


Volume IX, Issue V

Sudan's Lost Boys' Story

ISIS is late to the Caliphate-building party. Long before the “Islamic State” was on the scene slaughtering Christians and other infidels by the thousands with inconceivable violence, the government of Sudan was well into implementing its version of Islamic/Arab supremacism in Africa’s largest nation. Sudanese schoolbooks prophesy the coming Caliphate and Mahdi." -- Frontpage Magazine [1.]

The film: The Good Lie tells the story of Southern Sudan's tragic destruction through the eyes of four young people: Theo, Mamere, Paul and Abital. It begins in their beautiful little village, where Theo and Mamere are children playing a game remembering the names of their ancestors. They tend the village cattle as their people have for centuries until the brutal civil war destroys their village and leaves the adults dead.

The youth begin walking to find safety. They walk 400 miles to the Ethiopian border, then they must walk to the Kenyan refugee camp at Kakuma. They face the perils of thirst, starvation and wild animals. Thousands of them will die. At Kakuma they eventually learn that they will be resettled in America. The Good Lie unfolds the story of these rural village children, now young men and women, as they negutiate urban America.

[Spoiler Alert]

The film's title: The Good Lie is explained as the young people sit in an English class where they are discussing Huck Finn's lie to protect Jim, eventually freeing the man he had been taught to view as property. It was a moral dilemma for Finn, but indeed had precedent in history. The Hebrew midwives of Exodus 1 [2.] had protected the babies. In Exodus 1: 20, saying that the babies came before they got there, it says that: "Therefore G-d dealt well with the midwives."

Likewise, Rahab was praised for hiding the spies in Jericho and was rewarded with a place in the lineage of David. [3.] The 'Righteous Gentiles' of the Twentieth Century hid their Jewish neighbors and did so at great cost to themselves. The fact is that those who feared G-d and not man are commended for the 'lie.' But there is more, as portrayed in the film. As the children trudge on, they bed down in a field of elephant grass. They awake to rebel forces and Theo stands up and says that he is alone and lost.

He is conscripted by the rebels, and his sacrifice allows the others to escape. They trudge on. Theo, being the oldest, had assumed the role of Chief when the parents had been killed. Mamere is haunted by the image of his brother being hauled away by the rebels. He and his remaining siblings, Paul and Abital, make it to America. Mamere uneasily fills the role of elder and struggles as authorities separate Abital from the boys and younger brother Paul has a difficult time.

You're not Theo." Paul defiantly reminds Mamere, who one day learns that his older brother may have indeed survived. Mamere returns to Kakuma where he indeed finds Theo. He wants to arrange a visa for him to come to America but is told that that is now impossible. He goes to the airport with Theo and as they arrive he hands Theo his passport and his plane ticket. "You are now to only answer to the name Mamre," the younger brother says.

As Theo (now known as Mamere) makes his way successfully through the checkpoints, his brother watches... happy that he has given life to him, as he has been given the gift by Theo so long ago in the elephant grass. But there is a wonder to the story that is even greater, for it is but a representation of what the Christian has been given by Jesus, who became a man (our brother) and gave us His Identity as He took ours. He suffered the punishment that we so rightly deserve. He gave us life!

When it comes to righteousness, we have no 'papers' of our own. Indeed we travel to Heaven only by the righteousness of Christ. What is the 'Good Lie' for us? That we have been counted as righteous before we fully experience the sanctifying work of G-d in our hearts. Arnold Oceng, the Sudanese refugee who portrays Mamere, says of his character:

I think he's happy because as you've seen from the film, he has an emotional arc. From a very young age, he had to be the chief. So he had to look after everybody. That's a huge responsibility for a child. And especially a child who's been suffering from trauma from losing his father, his mother, his brother. That's a lot of trauma."

He's been fighting with it. He just wants to repay him, And he's got Paul there, digging at him every minute, like 'You're not Theo, you're not Theo,' and I think he's at peace with his decision. All he's ever wanted to do is just give back to Theo. And the whole film is about sacrifice and that's one of his sacrifices. Hence why The Good Lie."

Lynchburg's Maier Museum


The museum is located on the campus of Randolph College.
Photo by Bob Kirchman

In the Winter of 1951, as the cold war escalated, the campus of Randolph-Macon Woman’s College was quietly chosen to be the site of a confidential storage facility for use by the National Gallery of Art in the event of a national emergency. In exchange for the ownership and eventual use of the structure the College agreed, in a contract signed in March 1951, to maintain the facility and to make it available for emergency use by the National Gallery of Art for a period not to exceed 50 years. Fortunately Project Y, as the secret agreement was known, never had to be implemented.

Today the storage facility and its fine gallery rooms are home to one of the finest collections of American Art from the 19th, 20th and 21st Centuries. The collection began as a project of Louise Jordan Smith, who began the Art Department at the then all-women's school. At the beginning of the Twentieth Century, the study of art was not considered essential to higher education. Smith not only made it part of the curriculum, but she set to work acquiring fine examples. Though her collections grew quite impressive, as each class participated in the tradition of giving a piece of artwork to the school, it was the never-used Project Y building that gave it a fine home.

The gallery space was renovated in the 1970's and provides a rich experience for experiencing art. There is a portrait by Gilbert Stuart, who painted the famous portrait of George Washington. There are magnificent landscapes, richly framed. There is a Paris scene painted by Winslow Homer, a fine composition by Edward Hopper and a Thomas Hart Benton painting of politicians "preparing the bill" authorizing a mural Benton was to paint in the Missouri Capitol. Robert Vickery's stunning painting of his son discovering his own pulse is seen close to the end of your visit.

The Maier offers a rich gallery experience for those who desire one without the need to travel to a large city. Admission is free and the staff are helpful and friendly. The gallery rooms are spacious and inviting. The collection has been digitized, but those images (viewable below) give only a hint of the richness of the actual works.

Browse the Collection [click to view].


The Arboretum at Lynchburg's Old Cemetery.
Photo by Bob Kirchman

Sun, Ice and Mountains II


The island in Sherando Lake. This photo is displayed in the Virginia Blood Services Waynesboro Facility.
Photo by Bob Kirchman

Photos from THYME and The Journey are available through The Kirchman Studio [click to read]. Please contact them directly if you are interested.

THYME Magazine: Recognizing True Greatness

Citizen Journalism with a Better Flavor


Volume VIII, Issue XXVII

Recognizing True Greatness
G-d's Not Dead

What do you do when your faith is challenged? A recent film asks that question as it follows a college student's unexpected 'testing' when his philosophy professor demends that all of the students write "G-d is Dead" on a piece of paper, sign it, and hand it in at the beginning of the first class, or face a failing grade. For most, it is a simple exercise of class compliance, but for freshman Josh Wheaton it is a demand that he deny the very foundations of who he is. Josh nervously refuses to comply, raising the ire of professor Radisson, who counters Wheaton's refusal with a daunting assignment; he must prove G-d's existence by presenting well-researched, intellectual arguments and evidence. He must go head to head with Radisson in a series of classroom debates. If he cannot convince his classmates of G-d's existence, he fails the course.

The movie G-d's Not Dead opened in just under 800 theaters, yet it sold out in many locations and outperformed films with far larger exposure. Directed by Harold Cronk, the film dramatizes what is unfortunately an all too commonly seen antipathy to faith in the modern academic community. But consider this; the universities that the radicals of the 1960's became tenured in during the years that followed owe their beginnings to people of faith who sought to bring truth and order, rooted in faith, to the Americas. Great schools like Dartmouth and William and Mary sought to bring the invigorating element of Faith to the populace of the New World, both Native and European. That initial mission is now reflected only in the aforementioned schools' mascots and Dartmouth's remaining scholarships for people of Native American ancestry.

“G-d’s Not Dead didn’t have a massive marketing budget, a liberal A-list star above the title or even the same number of screens most mainstream movies receive. The film is still on pace to snare the fourth spot in the weekend’s box office chart in a very competitive frame. LA Times: ”The religious drama ‘G-d’s Not Dead’ surprises at box office. The film, which opened on just 780 screens nationwide, took in more than $2.8 million Friday. It’s likely to be the No. 3 movie for the weekend, behind the bigger-budget, wider-released “Divergent” and “Muppets Most Wanted.” - Breitbart

The need to consider the greatness of G-d and His story are nothing new. This is reflected in the hymns of old and the wonder that they still inspire!


Carl Boberg.

He was 26 years old. The year was 1885. Carl Boberg, a Swedish minister,  wrote a poem entitled, “O Store Gud”. Boberg’s poem was published in 1886. The title, “O Store Gud,” translated into English is “O Great G-d,” translated into English, it reads like this:

When I the world consider
Which Thou has made by Thine almighty Word
And how the webb of life Thy wisdom guideth
And all creation feedeth at Thy board.
Refrain:
Then doth my soul burst forth in song of praise
Oh, great G-d
Oh, great G-d.

Stuart K. Hine, who wrote the hymn "How Great Thou Art" that we recognize today, was an English missionary to Poland in the 1920s. Climbing through the Carpathian Mountains, his entourage was faced with a gathering storm. Inspired by "O Store Gud," he penned the first verse of the hymn we know today. The storm was so severe that the party could not travel further. Reaching a little village, they were given shelter by the local schoolmaster.

Traveling on into Romania and into Bukovina, Hine wandered forest glades with the young people in his company. Thus was born the second verse. The conversion of many people living in the Carpathian Mountains inspired the third verse and the fourth, speaking of Christ's triumphant return to Earth, was written when Hine returned to England.


Maltbie Davenport Babcock.

 Born in Syracuse, New York in 1858, Maltbie Davenport Babcock was the Pastor of a church in Lockport, New York. He often took long walks along the Niagra Escarpment, where he enjoyed the sweeping views of Lake Ontario. He would say to his wife Katherine: "I am going out to see the Father's World." Indeed, his walks with G-d in the beauty of Upstate New York inspired him to write the poem that became the great hymn. My beautiful wife was born in Syracuse, New York, though her Oklahoma accent, acquired in her childhood, makes that a well kept secret! She often hears me express a sentiment similar to Babcock's as I head for the Blue Ridge Mountains for the "Sunday Afternoon Walk."

Both hymns begin with an awe of G-d revealed in observation of nature. They build to an understanding of Christ's redemptive Love and rise to an expression of the triumphant Messiah establishing his rule and order on this Earth.

I have always loved the hymns these men wrote. The Hymns Project [click to read] was inspired by them. My friend and Colleague, Kristina Elaine Riley Greer actually deserves the credit for first developing graphic expression for great hymns. Her work on Henry Alford's Come Ye Thankful People, Come [click to read] and Joy to the World [click to read] deserve recognition in their own right. The Hymns Project was an attempt to build a visual representation of the rich musical tradition began by Carl Boberg, Stuart K. Hine and Maltbie Davenport Babcock.


The Hymns Project.





The Testimony of Nature
Evening Light Plays Across the Folds of the Great Valley


Photo by Kristina Elaine Riley Greer.

The heavens declare the glory of G-d; and the firmament sheweth his handywork.

Day unto day uttereth speech, and night unto night sheweth knowledge.

There is no speech nor language, where their voice is not heard.

Their line is gone out through all the earth, and their words to the end of the world. In them hath he set a tabernacle for the sun,

Which is as a bridegroom coming out of his chamber, and rejoiceth as a strong man to run a race.

His going forth is from the end of the heaven, and his circuit unto the ends of it: and there is nothing hid from the heat thereof.

The law of the Lord is perfect, converting the soul: the testimony of the Lord is sure, making wise the simple.

The statutes of the Lord are right, rejoicing the heart: the commandment of the Lord is pure, enlightening the eyes.

The fear of the Lord is clean, enduring for ever: the judgments of the Lord are true and righteous altogether.

More to be desired are they than gold, yea, than much fine gold: sweeter also than honey and the honeycomb.

Moreover by them is thy servant warned: and in keeping of them there is great reward.

Who can understand his errors? cleanse thou me from secret faults.

Keep back thy servant also from presumptuous sins; let them not have dominion over me: then shall I be upright, and I shall be innocent from the great transgression.

Let the words of my mouth, and the meditation of my heart, be acceptable in thy sight, O Lord, my strength, and my redeemer. -- Psalm 19

THYME Magazine Special Christmas Edition

Citizen Journalism with a Better Flavor


Volume VIII, Issue XXV

Glimpses into a World Unseen
The Amazing Photography of Alexey Kljatov

© 2013 The Kirchman Studio, All rights reserved. 
Photographs © Alexey Kljatov, Used by permission.

When I first saw the work of Alexey Kljatov, I was amazed. He takes these stunning images with a simple point and shoot camera rigged with an old macro lens and employing skillful manipulation of lighting. Snowflakes landing on his Moscow window reveal their full wonder and individual beauty through his sublime images. Mr. Kljatov graciously allowed THYME to share his amazing work. You can see more of his photography Here [click to view].

Just imagine the swirling dance of these beautiful shapes in a snowstorm!

























Glimpses into a World Unseen
Act II

The electron microscope further reveals amazing patterns.


Vertical section of the human dna.

Evidence of Divine Design, Great and Small
"The Heavens Declare the Glory of G-d;
The Skies Proclaim the Work of His Hands." -- Psalm 19:1


Moth wing pattern.

I saw this little creature outside my studio one morning. It got me reflecting on the creative wonder, both large and small, that surround us.


M 51 Spiral Galaxy, NASA photo from the Hubble Space Telescope.


Detail of the 'X Structure' in M 51, NASA photo from the Hubble Space Telescope.

The artist is amazed. So much beauty and wonder in the very large cosmos and in the very small things as well! Can a G-d who spins galaxies into being be concerned with things small and personal? Such order and grace in the extreme scales of our world, yet often what we see before us is chaotic and makes no sense.

That is why we present here Lee Strobel's Case for Faith and Case for Christ. If you had stepped into that Bethlehem stable many years ago, you would have not necessarily seen beauty and redemption. The smells of animals and the pain of labor and delivery would have overwhelmed contemplation. Yet Christians around the world will contemplate the wonder of that night; for what happened there ultimately made its mark on human history.

The Case for a Creator [click to view] by Lee Strobel
The Case for Faith [click to view] by Lee Strobel
The Case for Christ [click to view] by Lee Strobel

Creche at the National Cathedral
A Particularly Beautiful Representation of the Nativity


Photo by Kristina Elaine Riley Greer.

THYME Magazine: Recognizing True Greatness

Citizen Journalism with a Better Flavor


Volume VII, Issue XV

Recognizing True Greatness
G-d's Not Dead

What do you do when your faith is challenged? A new film asks that question as it follows a college student's unexpected 'testing' when his philosophy professor demends that all of the students write "G-d is Dead" on a piece of paper, sign it, and hand it in at the beginning of the first class, or face a failing grade. For most, it is a simple exercise of class compliance, but for freshman Josh Wheaton it is a demand that he deny the very foundations of who he is. Josh nervously refuses to comply, raising the ire of professor Radisson, who counters Wheaton's refusal with a daunting assignment; he must prove G-d's existence by presenting well-researched, intellectual arguments and evidence. He must go head to head with Radisson in a series of classroom debates. If he cannot convince his classmates of G-d's existence, he fails the course.

The movie G-d's Not Dead opened last week in just under 800 theaters, yet it sold out in many locations and outperformed films with far larger exposure. Directed by Harold Cronk, the film dramatizes what is unfortunately an all too commonly seen antipathy to faith in the modern academic community. But consider this; the universities that the radicals of the 1960's became tenured in during the years that followed owe their beginnings to people of faith who sought to bring truth and order, rooted in faith, to the Americas. Great schools like Dartmouth and William and Mary sought to bring the invigorating element of Faith to the populace of the New World, both Native and European. That initial mission is now reflected only in the aforementioned schools' mascots and Dartmouth's remaining scholarships for people of Native American ancestry.

“G-d’s Not Dead didn’t have a massive marketing budget, a liberal A-list star above the title or even the same number of screens most mainstream movies receive. The film is still on pace to snare the fourth spot in the weekend’s box office chart in a very competitive frame. LA Times: ”The religious drama ‘G-d’s Not Dead’ surprises at box office. The film, which opened on just 780 screens nationwide, took in more than $2.8 million Friday. It’s likely to be the No. 3 movie for the weekend, behind the bigger-budget, wider-released “Divergent” and “Muppets Most Wanted.” - Breitbart

The need to consider the greatness of G-d and His story are nothing new. This is reflected in the hymns of old and the wonder that they still inspire!


Carl Boberg.

He was 26 years old. The year was 1885. Carl Boberg, a Swedish minister,  wrote a poem entitled, “O Store Gud”. Boberg’s poem was published in 1886. The title, “O Store Gud,” translated into English is “O Great G-d,” translated into English, it reads like this:

When I the world consider
Which Thou has made by Thine almighty Word
And how the webb of life Thy wisdom guideth
And all creation feedeth at Thy board.
Refrain:
Then doth my soul burst forth in song of praise
Oh, great G-d
Oh, great G-d.

Stuart K. Hine, who wrote the hymn "How Great Thou Art" that we recognize today, was an English missionary to Poland in the 1920s. Climbing through the Carpathian Mountains, his entourage was faced with a gathering storm. Inspired by "O Store Gud," he penned the first verse of the hymn we know today. The storm was so severe that the party could not travel further. Reaching a little village, they were given shelter by the local schoolmaster.

Traveling on into Romania and into Bukovina, Hine wandered forest glades with the young people in his company. Thus was born the second verse. The conversion of many people living in the Carpathian Mountains inspired the third verse and the fourth, speaking of Christ's triumphant return to Earth, was written when Hine returned to England.


Maltbie Davenport Babcock.

 Born in Syracuse, New York in 1858, Maltbie Davenport Babcock was the Pastor of a church in Lockport, New York. He often took long walks along the Niagra Escarpment, where he enjoyed the sweeping views of Lake Ontario. He would say to his wife Katherine: "I am going out to see the Father's World." Indeed, his walks with G-d in the beauty of Upstate New York inspired him to write the poem that became the great hymn. My beautiful wife was born in Syracuse, New York, though her Oklahoma accent, acquired in her childhood, makes that a well kept secret! She often hears me express a sentiment similar to Babcock's as I head for the Blue Ridge Mountains for the "Sunday Afternoon Walk."

Both hymns begin with an awe of G-d revealed in observation of nature. They build to an understanding of Christ's redemptive Love and rise to an expression of the triumphant Messiah establishing his rule and order on this Earth.

I have always loved the hymns these men wrote. The Hymns Project [click to read] was inspired by them. My friend and Colleague, Kristina Elaine Riley actually deserves the credit for first developing graphic expression for great hymns. Her work on Henry Alford's Come Ye Thankful People, Come [click to read] and Joy to the World [click to read] deserve recognition in their own right. The Hymns Project was an attempt to build a visual representation of the rich musical tradition began by Carl Boberg, Stuart K. Hine and Maltbie Davenport Babcock.


The Hymns Project.





Planning on Seeing the Movie Noah?

Here are some thoughts from my friend Pastor Chuck Balsamo. Many are criticizing the Biblical inaccuracy of the film and forgetting that this is a project by non-believers. Pastor Balsamo points out that any time people outside of the household of Faith delve into Biblical themes, the possibility exists for there to develop a great dialogue. To those who are ready to pounce on the film's weaknesses, he writes:

"Why focus on how much you hate this movie, and miss a huge opportunity to start up real discussions with real people about who G-d really is?

Some people live on a soap box, ranting about the things they hate. Who knows, maybe they’re doing good in some bizarre way… like shoving back the tide of evil or something.

But, I think there is a better way. That is, to seize the better opportunity!"

The Noah Movie – Are You Missing The Real Opportunity? [click to read]

G-d's Not Dead: In Theatres this Week

How Far Would You go… to Defend Your Belief

Journey to Jesus Framed for Church Nursery

The Original Mural Reduced for a Smaller Space


The Journey to Jesus painting is originally 82 feet long. Here it is reduced to six feet of framed image. Mural by Kristina Elaine Riley and Bob Kirchman

Greenmonte Fellowship's newly expanded infant and toddler nursery will soon feature a framed print of the Journey to Jesus painting. The painting depicts children from the world's nations coming to the Saviour and their names (along with their meaning) make an interesting lesson for young people.

The Epic of Human Civilization: Isaiah 60, Rev: 21


Click Here for larger image.


Click Here for larger image.

THYME Magazine

Citizen Journalism with a Better Flavor


Volume VI, Issue XI

"What Hath G-d Wrought"

 A 'Best of THYMEs' Feature...

The 'other' Weekly News Magazine [click to read] once featured The Invention Issue. We noticed very quickly that the featured 'hummingbird drone' and other best inventions of the year share the quality of being inspired by unique things in nature. Thus THYME presents: The Inspiration Issue.

When Samuel Morse invented the telegraph, he keyed "What hath G-d wrought" as the first words transmitted over the new device. When Bell invented the telephone, his "Mr. Watson, come here. I need you." seems anticlimactic. Still, there is much evidence of modern innovators who were more than willing to give credit where credit was due when it came to their unique inspiration.

Consider the story of the great industrialist, Robert G. LeTourneau. During the war he was given the task by the government to design a large piece of equipment to move airplanes. He literally was given a contract to build a device that had never been built before. He and his crack staff of engineers went to work on the problem and found themselves hopelessly overwhelmed by the task before them. With the deadline looming large before them, and his staff at the point of frustration, LeTourneau got up from his work group. It was Wednesday night, he said, and he was going to prayer meeting.

"You can't do that, boss," one fellow blurted out; "We've got a deadline on this thing!"

LeTourneau's response must have stunned his men: "But I've got a deadline with G-d!"

LeTurneau went to prayer meeting. He prayed, sang hymns and left his problems in the hands of one far greater than himself. He says that as he walked home that night, details of the machine he needed to build came into his mind in vivid and complete pictures.

Every great invention of mankind began as an idea in someone's mind. Likely the idea was the result of some new perspective gained by observation. One of the great joys of teaching young people to draw is to watch them teach themselves deeper levels of observation... and yes, they teach themselves. You can create the opportuity for a student to learn, but you defeat your own purpose if you "see" for them in this exercise.

Edward Hicks, Painter, Preacher

Sign Painter Who Visualized Peaceable Kingdom

A Milestone Monday Feature:


Edward Hicks' 1834 painting of the 'Peaceable Kingdom.'

By John Braostoski
Friends Journal
February 2000

Many people would recognize the work of Edward Hicks (1780-1849) in his Peaceable Kingdom paintings. But it would be a rare person who would know much more about his life and beliefs, which were totally connected with them. Some think of him as a colonial folk artist, untrained and self-taught, simple, sweet, or naive. That view is partially true, but also misleading. Although Hicks was self-taught, he developed sophisticated technical ability and had an educated and penetrating intellect.

His career started as a decorator of carriages and maker of signs. Some of the signs were patriotic, such as views of Washington crossing the Delaware with the moon penetrating storm clouds, like the cosmic eye of G-d, observing and approving of the events. Another was a wooden placard adorned with the face of Benjamin Franklin. The most curious sign to us might be the one of a joyful jumble of hats for a hatter named Jacob Christ, who surprisingly came from Nazareth, albeit Pennsylvania.

At first his fellow Quakers looked a bit askance at his profession, and because of this, at one time he gave It up to be a farmer. He was unsuccessful at farming, however, and returned to his brushes. It was honest work, so fellow members of his meeting eventually forgave him, especially since he was becoming a strong preacher, traveling among many meetings. He did agree with them about certain vanities in art and refused to paint portraits, which were too ego-centered.

He worked at the time when both the United States and modern American Quakerism were young. His spiritual beliefs came from Barclay and 18th-century quietism, which espoused simplicity, self-discipline, and contact with the Inner Light. FIias Hicks, his second cousin, was a central figure in a religious storm. Edward Hicks was a spokesman, in word and in image, for those who became known as the Hicksites. It broke his heart to see Quakers becoming worldly, with excessive material goods and inflated pride, and leaning towards the creation of a spiritual elite. He felt this corrosion also in the authoritarian control of elders, as mere men, and not as followers of the Inner Spirit of Christ. He had a genuine feeling for the Scriptures, along with hope for a continuing sense of insight open to all. Some of the divisions between urban and rural Quakers have been laid at the feet of visiting Quakers from England, justly or unjustly. In his travels, Hicks spoke much of this.

He also spoke of something else: his own education included ancient concepts of animal symbolism with its references to aspects of human personality. These symbols came into his paintings. The lion was quick-tempered and willful. The wolf was full of melancholy and reserved. The bear was sluggish and greedy. The leopard, buoyant. In his paintings, these were both animal qualities with potential violence as well as the aforementioned rage, egoism, greed, etc. personified.

His "signature" subject of the peaceable kingdom slowly evolved. His symbols of the animals were joined to a quotation of Isaiah's prophecy in the Bible (Isa. 11:6):

"The wolf shall also dwell with the lamb, and the leopard shall lie down with the kid; and the calf and the young lion and the fatling together; and a little child shall lead them."
Isaiah's words were lettered on the borders, or false frames, around the paintings of the Peaceable Kingdom. Often he paraphrased Isaiah but always centrally included the child. At first he painted a very simple image, with a mixture of wild and domestic animals together. Later he introduced a dividing embankment, which developed into a ravine. On the left side, smaller figures indicated the founders of American Quakerism, William Penn being the most noticeable, concluding a treaty with the Indians. Beyond them was a brilliant sky and sometimes an arriving ship. On the right, the child was surrounded by the well-known duster of unlikely animal companions. The bull and lion were the most pronounced. The lion was offered hay to eat. These were powerful and intense images.

The Peaceable Kingdom paintings portray a delicate balance of difficult and unresolved issues. The lion-ego poses the greatest threat. The wild animals are seemingly domesticated and brought into line with loving kindness. However, their expression of pop-eyed puzzlement is not lost on any viewer. For the moment, they are behaving themselves, eating bovine food and not the little lambs. Hicks's paintings over the years show an increasingly subtle rendering of these animals and children clustered together. His concern is revealed through a tree that appears as if struck by lightning, splitting it. These are not mere decorations added for the naturalistic setting. The divided tree remains a major element in his paintings. As with the animal symbolism, other figures could represent concepts like "justice" or "purity." Originally a sign painter, Hicks continued to make "signs," except that now we have to call them symbols.

The little child had appeared in earlier paintings representing liberty and freedom from autocratic oppression. Politically, that meant kings and princes for' Hicks. But spiritual freedom also has to be obtained. There is a struggle against a foe, not British Quakers or material riches, but the weakness and characteristics of a willful self. The true foe was a self-willed, egotistical, greedy, lustful, or slanderously poisonous self Hicks rejected the authority of the self-aggrandized. He sought the authority of a purer self, washed by the Inner Light, which could reveal religious understandings, even if possibly at odds with established views.

This search was not his alone, and there was resistance to it. A face-off came, with dire results culminating in a division amongst Quakers. For Friends there were many words, not necessarily all polite. Hicks laid the blame upon the inherent human propensities that when uncontrolled turn wild. He felt that a peaceable kingdom was possible, that the child would lead them, that the lamb would lie down with the wolf, etc. Across the ravine was seen an example of William Penn demonstrating how it could be done. There might be other groups of Quakers, with Elias Hicks among them, representing what the artist felt were the better aspects of humankind, wrapped in long ribbons, with messages such as "Mind the Inner Light." Deeper in the paintings, in colorful satu- rations of light, might be seen a hilltop with a figure and twelve followers, indicating something even loftier, but with no written labels.

With the passage of time, the Peaceable Kingdom paintings became more skillful in technique but saturated with both hope and dashed hopes. The figures became more dispersed. The child plays a lesser role, the animals begin to snarl and raise their claws to strike, divisions become more blatant, the tree more shattered. Hicks became extremely worried about a Quaker reconciliation. The animals become visibly older: white whiskers and sad, sunken eyes. The docility is from fatigue rather than from a peaceful blessing. But this is a fatigue of pride, ego, lust, and greed--perhaps not so bad. All those symbols recede. The sense of light in the gorgeously rendered creatures, trees, and air becomes the subject. How is that? Hicks believed in the Inner Light and its power; he felt it, therefore he saw it. Most importantly, he saw it in others, including the lion and the bear. The world was all light to him, that special Light. He depicted it again in his last painting of David Leedom's farm, where half the painting is luminous sky. The immaculately rendered bulls, sheep, pigs, fences, barns, and people (living or deceased) are saturated in it. No, they are giving it off, being fall of that spirituality, in abundance. It is as if the world is made of diamonds. No, it is made of one diamond.

Edward Hicks allows us to see the Light coming out of all living beings and the world, speaking to that which shines within every one of us.

Laney Riley to Head Up Mural Project

New Project for SAW Coalition for the Office on Youth


Staunton muralist Laney Riley discusses restoration of the Crozet Trestle Murals with Crozet artist Meg West. The restoration of the twenty year-old murals was done in May of 2012.

Kristina Elaine Riley (Laney) has worked on a number of large projects, beginning with Underwater Atlantis, a mural she painted at Lee High School. She partnered with me on the Journey to Jesus murals at Staunton Alliance Church and has helped me with a number of projects since, including the restoration of the Crozet Trestle Murals. [1.] She has provided illustrations for Core Knowledge Foundation's UK partner, Civitas Foundation, for What Your Year One Child Needs to Know. [2.]

Here She is Featured [click to read] on the Bridgewater College Website as she begins her latest project, designing and heading up a mural project for the Staunton Augusta Waynesboro Coalition for the Office on Youth. Congratulations Laney!

The Bridgewater College article says: "Sharing her artistic expertise with elementary- and middle-school children from broken homes and difficult situations, Laney is in charge of designing a mural to be displayed in a community classroom.
   
Laney’s role in the project includes creating the design and directing the children in painting the mural, as well as building relationships and serving as a role model for them."
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"Do you see someone skilled in their work? They will serve before kings; they will not serve before officials of low rank." -- Proverbs 22:29

The Child Who Was Never Born

Martin Hudáček Creates Monument to the Unborn


Slovakian artist Martin Hudáček's moving sculpture celebrates love, mercy, reconciliation and peace through the love and mercy of Jesus Christ.

By Hannah Rose Allen

This heart-rending sculpture was created by a Slovakian art student named Martin Hudáček. He was moved to create something to draw attention to the devastation abortion can bring to the woman and to the fact that through the love and mercy of Jesus Christ, reconciliation, healing, and peace is possible. His main intention in creating the sculpture was "not to be famous, but to speak about the important value of human life and the necessity to protect it from conception."

The sculpture shows a woman in great sorrow grieving her abortion. The second figure in the work is her aborted child, presented as a young child, who in a very touching and healing way, comes to the mother, to offer forgiveness and love.

Martin named the work "Memorial for Unborn Children" and said that it "expresses hope which is given to believers by the One who died on the cross for us, and showed how much He cares about all of us."

A post-abortion retreat leader, Fr. William Kurz, S.J. said, “It’s a message of forgiveness and healing needed by the grieving post-abortive mother even some years after her abortion...It speaks directly and beautifully both to the intense and profound grief of the mother, and to the dignity of the aborted baby.”

From the Slovak Website [click to read], with the help of Google Translator:

"On October 28, 2011 at 16:00 o’clock in Ves memorial, a dedication ceremony for unborn children was held. The centerpiece of the dedication included the work (pictured above) of young sculptor Martin Hudáčeka of Banska Bystrica. This ceremony was attended by the Minister of Health, Ivan Uhliarik MD.

The idea to build a memorial to unborn children came from within a community of young women and mothers who are deeply aware of the value of every human life and the damage that is inflicted not only from the loss of potential unborn children, but also from the permanent intellectual impairment (sometimes physical) of every woman who chooses to conceive their unborn child.

This memorial not only expresses the sadness and regret of the mothers but also forgiveness and love from the unborn child to the mother."

A Latin American post-abortive woman who was helped in the healing process by the Proyecto Esperanza (Project Hope) program says the sculpture “is simple…marvelous. I got emotional and I stopped to take the time to look at it…I felt many things…the woman with all her pain being concentrated in her face held in her hands. Shame is also conveyed…And the daughter who blesses her, reaching up to touch her, to me indicates the height of forgiveness, the height of that child’s forgiveness, through the love of God. The transparency of the child means she comes from a pure place. It talks to me of the forgiveness we feel after we have worked through the grief… Precious…really precious.”

“This presents a very beautiful image of a core component of post abortion healing,” comments Kevin Burke, LSW, of Rachel’s Vineyard Ministries, “that the very child that was lost to abortion with God’s grace is now instrumental in calling the wounded mother and father to repentance and healing in Christ.”

Julie Thomas of Atlanta, who has personally experienced abortion and is now active with the Operation Outcry post-abortion program, commented, “I love that the little girl is not a baby - we often talk about that during our Bible study and for some reason a lot of us believe that when we get to Heaven that our children will be a toddler as the child is here. I also like the child being ‘transparent’ almost angel-like in appearance. The mother appears to be in anguish, which is so very real. I love that the child is reaching out to touch the mother’s head. I can imagine the mother sensing the touch and believe that she will stand up, taller than before. I believe that this image is very strong and touching, possibly leading to the first step of healing for the mother who has aborted her children.”

This work powerfully illustrates my experience with abortion and losing my Luke Shiloh. It resonates so much with me and draws out the beauty, pain, sorrow, and hope... It is an extremely effective representation of what it is like to live with an abortion, but also to be set free by the love and mercy of Christ! I am brought to tears looking at it and thinking of my Luke...I am so sorry sweet boy, yet I have tasted the forgiveness and healing of Jesus and I know one day I will meet you and see your precious face and what has happened on this earth will be forgotten.

I also believe that this sculpture beautifully shows what a mother experiences when losing a child...whether through stillbirth, miscarriage, or any other type of loss. A mother brought to her knees in grief, weeping over her devastating loss...and her little one coming to comfort her, almost as if she's promising all is well and they will be reunited again one day. There will be no more aching, no more longing, no more hurting, no more tears...

For anyone who reads this or sees this photo that has had an abortion, I encourage you to check out my After-Abortion Resource Page [click to read] for more resources of hope and healing.

For more information, and to download a mini-poster with this image, go Here [click to view].

Hannah Rose Allen writes at Rose and Her Lily [click to read].

Come, Ye Thankful People, Come

Harvest Hymn Written in 1844 by Henry Alford


“Come, Ye Thankful People, Come” is a harvest hymn written in 1844 by Henry Alford. It is often sung to the tune “St. George's Windsor” by George Job Elvey. So I created this in light of Thanksgiving to remind us of what we should really be thankful for. Two of my photos are overlayed with the text of the hymn added." -- Laney Riley Photo Graphic by Laney Riley

View Larger Image [click to view].