	The Tapestry of the Resurrection
	Introduction The second Tapestry is, in narrative terms, a continuation of the first, since it deals with events following the crucifixion, prior to Christ's ascension into Heaven. In design it harmonises with the Tapestry of the Cross, since there are again narrative scenes within frames created by a geometric shape; but the shapes themselves and the colours of this tapestry are different. The Tapestry of the Resurrection is dominated by three roundels coming together in a knot. The three-fold structure represents the Trinity - God the Father, God the Son and God the Holy Ghost - a basic tenet of Christian faith. Again, the shape is a traditional one. The knot was a favourite decorative device in early Celtic and Anglo-Saxon religious art. The Scenes in the Roundels 1. The Supper at Emmaus (bottom left) (After the crucifixion, two of Jesus's followers were walking to Emmaus, discussing His appearance to the women at the tomb. Jesus joined them on the road, interpreting the scriptures as they walked. They did not recognise him.) And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him, saying, "Abide with us: for it is toward evening, and the day is far spent." And he went in to tarry with them. And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight. (Luke 24:28-31) 2. Fishing at the Sea of Tiberias (bottom right) After these things Jesus shewed himself again to the disciples at the Sea of Tiberias; and on this wise shewed he himself. There were together Simon Peter, and Thomas called Didymus, and Nathanael of Cana in Galilee, and the sons of Zebedee, and two other of his disciples. Simon Peter saith unto them, "I go a fishing." They say unto him, "We also go with thee." They went forth, and entered into a ship immediately; and that night they caught nothing. But when the morning was now come, Jesus stood on the shore: but the disciples knew not that it was Jesus. Then Jesus saith unto them, "Children, have ye any meat?" They answered him, "No." And he said unto them, "Cast the net on the right side of the ship, and ye shall find." They cast therefore, and now they were not able to draw it for the multitude of fishes. (John 21, 1-6) 3. The Ascension (The Emmaus villagers had hastened back to Jerusalem and told the eleven remaining disciples and other followers what they had witnessed. Jesus then appeared among them and explained how His death and resurrection fulfilled the scriptures.) And he led them out as far as to Bethany, and he lifted up his hands, and blessed them. And it came to pass, while he blessed them, he was parted from them, and carried up into heaven. (Luke 24:50-51) Description The yellow background brightens to gold on either side of the upper roundel, like a sunset behind the scenes. There is an outline of white round the whole figure, within which each individual roundel is framed in tones of yellow. The effect of light shining on the scenes from the outside is achieved by use of very light tones at the outermost points of the frames, shading into darker yellows and browns at the central knot. Within the roundels, also, the shades are light at the outside. deepening towards the centre of the tapestry. Interestingly. although the subject matter here is the Risen Christ, the colours used are much less ethereal than in the Tapestry of the Cross. which deals with Christ's life. In the Resurrection Tapestry we find brighter and deeper shades, with the earth tones of green and brown playing a significant part. The detail. too, is much more naturalistic in this tapestry: consider the stools, the table. the jug and cup, the food and the exquisite tiled floor of the Emmaus scene (scene 1). The fish and the net in the Tiberias scene must be viewed close up, as a photograph cannot do justice to the detail and texture. The figures, too, are animated and. to some extent, individualised. The disciples who witness the Ascension gesture vigorously, their faces visible, unlike the anonymous witnesses to the Sermon on the Mount in the Tapestry of the Cross. The arms of the ascending Christ, however, parallel the shape of the surrounding clouds, so that the figure seems to be disappearing into the sky (scene 3). Again the artist uses blocks of colour, in geometric shapes such as triangles and rhomboids. This abstract technique is not unlike the way artists in stained glass build up a picture, but here it is the background which is suggested by the geometric shapes, rather than the figures. which are relatively naturalistic. Gold and yellow tones. employed in blocks adjacent to the central figure of Christ in scene 1 and the distant figure of Christ in scene 2, define and illuminate. They have the effect of suffusing the figures with light. as the halo is supposed to do in traditional art. These gold and yellow tones reflect the sunset glow of the background which flanks and highlights the final scene of the sequence, the Ascension. Although the triple rings of the knot-design act as frames for the individual scenes, the artist has deliberately avoided treating these spaces in a classical manner; figures are not grouped centrally, or symmetrically. The unexpectedness of the placing gives freshness and vitality to the scenes. Gail Owen-Crocker
	Norbury Parish Church, Hazel Grove, Stockport, Cheshire. Telephone: 0161-483 6325

The Tapestry of the Resurrection

Introduction

The second Tapestry is, in narrative terms, a continuation of the first, since it deals with events following the crucifixion, prior to Christ's ascension into Heaven. In design it harmonises with the Tapestry of the Cross, since there are again narrative scenes within frames created by a geometric shape; but the shapes themselves and the colours of this tapestry are different.

The Tapestry of the Resurrection is dominated by three roundels coming together in a knot. The three-fold structure represents the Trinity - God the Father, God the Son and God the Holy Ghost - a basic tenet of Christian faith. Again, the shape is a traditional one. The knot was a favourite decorative device in early Celtic and Anglo-Saxon religious art.

The Scenes in the Roundels

1. The Supper at Emmaus (bottom left)

(After the crucifixion, two of Jesus's followers were walking to Emmaus, discussing His appearance to the women at the tomb. Jesus joined them on the road, interpreting the scriptures as they walked. They did not recognise him.)

And they drew nigh unto the village, whither they went: and he made as though he would have gone further. But they constrained him, saying, "Abide with us: for it is toward evening, and the day is far spent." And he went in to tarry with them. And it came to pass, as he sat at meat with them, he took bread, and blessed it, and brake, and gave to them. And their eyes were opened, and they knew him; and he vanished out of their sight. (Luke 24:28-31)

2. Fishing at the Sea of Tiberias (bottom right)

After these things Jesus shewed himself again to the disciples at the Sea of Tiberias; and on this wise shewed he himself. There were together Simon Peter, and Thomas called Didymus, and Nathanael of Cana in Galilee, and the sons of Zebedee, and two other of his disciples. Simon Peter saith unto them, "I go a fishing."
They say unto him, "We also go with thee." They went forth, and entered into a ship immediately; and that night they caught nothing.
But when the morning was now come, Jesus stood on the shore: but the disciples knew not that it was Jesus. Then Jesus saith unto them, "Children, have ye any meat?"
They answered him, "No."
And he said unto them, "Cast the net on the right side of the ship, and ye shall find." They cast therefore, and now they were not able to draw it for the multitude of fishes. (John 21, 1-6)

3. The Ascension

(The Emmaus villagers had hastened back to Jerusalem and told the eleven remaining disciples and other followers what they had witnessed. Jesus then appeared among them and explained how His death and resurrection fulfilled the scriptures.)

And he led them out as far as to Bethany, and he lifted up his hands, and blessed them. And it came to pass, while he blessed them, he was parted from them, and carried up into heaven. (Luke 24:50-51)

Description

The yellow background brightens to gold on either side of the upper roundel, like a sunset behind the scenes. There is an outline of white round the whole figure, within which each individual roundel is framed in tones of yellow. The effect of light shining on the scenes from the outside is achieved by use of very light tones at the outermost points of the frames, shading into darker yellows and browns at the central knot. Within the roundels, also, the shades are light at the outside. deepening towards the centre of the tapestry.

Interestingly. although the subject matter here is the Risen Christ, the colours used are much less ethereal than in the Tapestry of the Cross. which deals with Christ's life. In the Resurrection Tapestry we find brighter and deeper shades, with the earth tones of green and brown playing a significant part. The detail. too, is much more naturalistic in this tapestry: consider the stools, the table. the jug and cup, the food and the exquisite tiled floor of the Emmaus scene (scene 1).

The fish and the net in the Tiberias scene must be viewed close up, as a photograph cannot do justice to the detail and texture. The figures, too, are animated and. to some extent, individualised. The disciples who witness the Ascension gesture vigorously, their faces visible, unlike the anonymous witnesses to the Sermon on the Mount in the Tapestry of the Cross. The arms of the ascending Christ, however, parallel the shape of the surrounding clouds, so that the figure seems to be disappearing into the sky (scene 3).

Again the artist uses blocks of colour, in geometric shapes such as triangles and rhomboids. This abstract technique is not unlike the way artists in stained glass build up a picture, but here it is the background which is suggested by the geometric shapes, rather than the figures. which are relatively naturalistic.

Gold and yellow tones. employed in blocks adjacent to the central figure of Christ in scene 1 and the distant figure of Christ in scene 2, define and illuminate. They have the effect of suffusing the figures with light. as the halo is supposed to do in traditional art. These gold and yellow tones reflect the sunset glow of the background which flanks and highlights the final scene of the sequence, the Ascension.

Although the triple rings of the knot-design act as frames for the individual scenes, the artist has deliberately avoided treating these spaces in a classical manner; figures are not grouped centrally, or symmetrically. The unexpectedness of the placing gives freshness and vitality to the scenes.

Gail Owen-Crocker