Sunday Reflections, Feast of the Santo Niño (Philippines). Third Sunday of January, Year A

Santo Niño de Cebú [Wikipedia]

The original image enshrined at the Minor Basilica of the Santo Niño de Cebú.

First Reading Isaiah 9:1-6

Second Reading  Ephesians 1:3-6, 15-18

Gospel Matthew 18:1-5, 10

At that time the disciples approached Jesus and said, “Who is the greatest in the kingdom of heaven?” He called a child over, placed it in their midst, and said, “Amen, I say to you, unless you turn and become like children, you will not enter the kingdom of heaven. Whoever humbles himself like this child is the greatest in the kingdom of heaven. And whoever receives one child such as this in my name receives me.

“See that you do not despise one of these little ones,for I say to you that their angels in heaven always look upon the face of my heavenly Father."

Sunday Reflections for the Second Sunday in Ordinary Time Year A (outside of the Philippines) are here.

The Sleeping Sto Niño 

(There are many versions)

THE SLEEPING GOD

by Simeon Dumdum, Jr.

This first appeared in Cebu Daily News four years ago. It is used here with permission. Simeon Dumdum, Jr, known to his friends as 'Jun', is a retired Regional Trial Court judge, a writer and a poet.

Not too long ago, a couple gifted us with a wood carving of the Child Jesus. It has the size, curls and royal garments of the Santo Niño of Cebu, as well as its crown, globe and scepter. Except that the globe lies on a seat and the figure reclines on it, sleeping – the scepter resting on a leg.

The statue, which has apparently gained popularity, goes by the name Sleeping Santo Niño.

In the house we give pride of place to a copy of the standard, the official representation enshrined in the basilica. It occupies the center of a table that serves as altar, together with the crucifix and the image of Our Lady of Guadalupe. But I am unsure as to where to put the Sleeping Santo Niño. My decision on the matter would almost certainly depend on whether it is a holy object or a mere artistic item – an objet d’art. I have since been inclined to the latter, having dragged my feet towards having it blessed (terrified of the priest’s refusal or ridicule), and for the moment having installed the statue above a console together with a paper weight portraying the head of a plumpish baby angel.

How did the first Sleeping Santo Niño come about? Did the one who carved it, true to his restless, artistic soul, make it purely for the purpose of creating something different, just as others have come up with their own different versions of the Holy Child, many of them clearly out of character, such as a Santo Niño holding a saw, a sight that would have terrified good St. Joseph himself.

Did the carver want to make such a statement? By the way, the official statement of the official representation of the Santo Niño is of the universal Kingship of Jesus, who is God, who became man, and is shown as a child to stress the need in the kingdom for the childlike virtues –dependence, trust, simplicity.

Someone, who apparently was losing in his grapple with faith, wrote about the Sleeping Santo Niño being a revelation of the “real” character of God – detached, indifferent, unconcerned with human problems.

Christ in the Storm on the Sea of Galilee, Rembrandt, 1633

Isabella Stewart Gardner Museum, Boston [Web Gallery of Art]

This was exactly what the disciples felt when, while aboard a boat on the lake, a storm arose and the waves began swamping them, and Jesus was in the stern, sleeping on a cushion. Mark tells us that they woke Jesus up, saying, “Teacher, don’t you care that we are about to die?”

Jesus got up and rebuked the wind, commanded it to stop, and then turned towards the disciples to chide them, “Why are you cowardly? Do you still not have faith?”

I doubt that the originator of the Sleeping Santo Niño had this episode in mind when applying chisel to wood. Likely as not, he thought of a tender human scene – Baby Jesus, like any infant elaborately dressed up by its parents for a pageant and unmindful of adult concerns, succumbing to sleep, the thing that infants most need and yield to no matter the occasion.

But subconsciously the carver has conveyed to me the message that Mark gives in the incident about the storm on the lake. It was not accidental that Jesus slept on a cushion at the stern (neither was it inconceivable – it was evening, and as usual Jesus must have had a full day). His rebuke being proof, he gave the disciples a lesson on faith – of reliance on the protection of the Father so complete that like him they should have slept the storm away, as well as that his mere presence among them should have been assurance enough of safety. After all, he had power at any time to tell off the wind and the waves.

People who complain that God does not intervene enough in human affairs really want Him to do the work for them. But really with full faith in God they should first act, carry out their roles, let the play of their lives unfold, and not always whine for the Author to appear. Incidentally, C. S. Lewis tells us, “When the author walks on the stage, the play is over.”

Perhaps the Sleeping Santo Niño deserves a second look. It does no more than remind, not of a divine pastime, but of the proper human attitude – trust. The God who appears to sleep is really an unsleeping God – as watchful as a parent is of an infant that is learning to walk, and coming to its aid only when necessary.

+++

I love Jun's reference to the sight of the Child Jesus holding a saw as something that 'would have terrified good St Joseph'! As the son of a carpenter named Joseph myself I felt embarrassed the first time I tried to use a saw and didn't have a clue. I still don't!

Pope Francis in Manila speaking about his statue of the sleeping St Joseph.

Feast of the Santo Niño (Philippines). Third Sunday of January, Year C

Santo Niño de Cebú [Wikipedia]

The original image enshrined at the Minor Basilica of the Santo Niño de Cebú.

First Reading Isaiah 9:1-6

Second Reading  Ephesians 1:3-6, 15-18

Gospel Luke 2:41-52

Each year the parents of Jesus went to Jerusalem for the feast of Passover, and when he was twelve years old, they went up according to festival custom. After they had completed its days, as they were returning, the boy Jesus remained behind in Jerusalem, but his parents did not know it. Thinking that he was in the caravan, they journeyed for a day and looked for him among their relatives and acquaintances, but not finding him, they returned to Jerusalem to look for him. After three days they found him in the temple, sitting in the midst of the teachers, listening to them and asking them questions, and all who heard him were astounded at his understanding and his answers. When his parents saw him, they were astonished, and his mother said to him, “Son, why have you done this to us? Your father and I have been looking for you with great anxiety.” And he said to them, “Why were you looking for me? Did you not know that I must be in my Father’s house?” But they did not understand what he said to them. He went down with them and came to Nazareth, and was obedient to them; and his mother kept all these things in her heart. And Jesus advanced [in] wisdom and age and favor before God and man.

The Sleeping Sto Niño 

(There are many versions)

THE SLEEPING GOD

by Simeon Dumdum, Jr.

This first appeared in Cebu Daily News three years ago. It is used here with permission. Simeon Dumdum, Jr, known to his friends as 'Jun', is a retired Regional Trial Court judge, a writer and a poet.

Not too long ago, a couple gifted us with a wood carving of the Child Jesus. It has the size, curls and royal garments of the Santo Niño of Cebu, as well as its crown, globe and scepter. Except that the globe lies on a seat and the figure reclines on it, sleeping – the scepter resting on a leg.

The statue, which has apparently gained popularity, goes by the name Sleeping Santo Niño.

In the house we give pride of place to a copy of the standard, the official representation enshrined in the basilica. It occupies the center of a table that serves as altar, together with the crucifix and the image of Our Lady of Guadalupe. But I am unsure as to where to put the Sleeping Santo Niño. My decision on the matter would almost certainly depend on whether it is a holy object or a mere artistic item – an objet d’art. I have since been inclined to the latter, having dragged my feet towards having it blessed (terrified of the priest’s refusal or ridicule), and for the moment having installed the statue above a console together with a paper weight portraying the head of a plumpish baby angel.

How did the first Sleeping Santo Niño come about? Did the one who carved it, true to his restless, artistic soul, make it purely for the purpose of creating something different, just as others have come up with their own different versions of the Holy Child, many of them clearly out of character, such as a Santo Niño holding a saw, a sight that would have terrified good St. Joseph himself.

Did the carver want to make such a statement? By the way, the official statement of the official representation of the Santo Niño is of the universal Kingship of Jesus, who is God, who became man, and is shown as a child to stress the need in the kingdom for the childlike virtues –dependence, trust, simplicity.

Someone, who apparently was losing in his grapple with faith, wrote about the Sleeping Santo Niño being a revelation of the “real” character of God – detached, indifferent, unconcerned with human problems.

Christ in the Storm on the Sea of Galilee, Rembrandt, 1633

Isabella Stewart Gardner Museum, Boston [Web Gallery of Art]

This was exactly what the disciples felt when, while aboard a boat on the lake, a storm arose and the waves began swamping them, and Jesus was in the stern, sleeping on a cushion. Mark tells us that they woke Jesus up, saying, “Teacher, don’t you care that we are about to die?”

Jesus got up and rebuked the wind, commanded it to stop, and then turned towards the disciples to chide them, “Why are you cowardly? Do you still not have faith?”

I doubt that the originator of the Sleeping Santo Niño had this episode in mind when applying chisel to wood. Likely as not, he thought of a tender human scene – Baby Jesus, like any infant elaborately dressed up by its parents for a pageant and unmindful of adult concerns, succumbing to sleep, the thing that infants most need and yield to no matter the occasion.

But subconsciously the carver has conveyed to me the message that Mark gives in the incident about the storm on the lake. It was not accidental that Jesus slept on a cushion at the stern (neither was it inconceivable – it was evening, and as usual Jesus must have had a full day). His rebuke being proof, he gave the disciples a lesson on faith – of reliance on the protection of the Father so complete that like him they should have slept the storm away, as well as that his mere presence among them should have been assurance enough of safety. After all, he had power at any time to tell off the wind and the waves.

People who complain that God does not intervene enough in human affairs really want Him to do the work for them. But really with full faith in God they should first act, carry out their roles, let the play of their lives unfold, and not always whine for the Author to appear. Incidentally, C. S. Lewis tells us, “When the author walks on the stage, the play is over.”

Perhaps the Sleeping Santo Niño deserves a second look. It does no more than remind, not of a divine pastime, but of the proper human attitude – trust. The God who appears to sleep is really an unsleeping God – as watchful as a parent is of an infant that is learning to walk, and coming to its aid only when necessary.

+++

I love Jun's reference to the sight of the Child Jesus holding a saw as something that 'would have terrified good St Joseph'! As the son of a carpenter named Joseph myself I felt embarrassed the first time I tried to use a saw and didn't have a clue. I still don't!

Pope Francis in Manila speaking about his statue of the sleeping St Joseph.

You will find Sunday Reflections for the Second Sunday in Ordinary Time, Year C, observed everywhere except in the Philippines, here.

CHRIST IN YOU, OUR HOPE OF GLORY

Colossians 1:27

51st International Eucharistic Congress, Cebu, Philippines

24-31 January 2016

Website

The Sleeping Santo Niño

The Sleeping Sto Niño (There are many versions)

This is the actual Santo Niño given by Magellan to Rajah Humabon (Carlos) and Hara Amihan (Juana) in 1521.

Yesterday I quoted from a reflection by Simeon Dumdum, Jr, on the gospel of the day, the storm on the Sea of Galilee. Jun/s wife Gingging in the comment box mentioned that he had another article relating to the same theme in yesterday's Cebu Daily News. Since the article isn't online, Gingging kindly sent it to me.

I tried, unsuccessfully, to upload an image of a carving of the Sleeping Santo Niño but you can find a photo here. 'Santo Niño' is the Spanish for 'Holy Child' and is closely linked with the history of the Catholic faith in the Philippines.

THE SLEEPING GOD

by Simeon Dumdum, Jr.

Not too long ago, a couple gifted us with a wood carving of the Child Jesus. It has the size, curls and royal garments of the Santo Niño of Cebu, as well as its crown, globe and scepter. Except that the globe lies on a seat and the figure reclines on it, sleeping – the scepter resting on a leg.

The statue, which has apparently gained popularity, goes by the name Sleeping Santo Niño.

In the house we give pride of place to a copy of the standard, the official representation enshrined in the basilica. It occupies the center of a table that serves as altar, together with the crucifix and the image of Our Lady of Guadalupe. But I am unsure as to where to put the Sleeping Santo Niño. My decision on the matter would almost certainly depend on whether it is a holy object or a mere artistic item – an objet d’art. I have since been inclined to the latter, having dragged my feet towards having it blessed (terrified of the priest’s refusal or ridicule), and for the moment having installed the statue above a console together with a paper weight portraying the head of a plumpish baby angel.

How did the first Sleeping Santo Niño come about? Did the one who carved it, true to his restless, artistic soul, make it purely for the purpose of creating something different, just as others have come up with their own different versions of the Holy Child, many of them clearly out of character, such as a Santo Niño holding a saw, a sight that would have terrified good St. Joseph himself.

Did the carver want to make such a statement? By the way, the official statement of the official representation of the Santo Niño is of the universal Kingship of Jesus, who is God, who became man, and is shown as a child to stress the need in the kingdom for the childlike virtues –dependence, trust, simplicity.

Someone, who apparently was losing in his grapple with faith, wrote about the Sleeping Santo Niño being a revelation of the “real” character of God – detached, indifferent, unconcerned with human problems.

This was exactly what the disciples felt when, while aboard a boat on the lake, a storm arose and the waves began swamping them, and Jesus was in the stern, sleeping on a cushion. Mark tells us that they woke Jesus up, saying, “Teacher, don’t you care that we are about to die?”

Jesus got up and rebuked the wind, commanded it to stop, and then turned towards the disciples to chide them, “Why are you cowardly? Do you still not have faith?”

I doubt that the originator of the Sleeping Santo Niño had this episode in mind when applying chisel to wood. Likely as not, he thought of a tender human scene – Baby Jesus, like any infant elaborately dressed up by its parents for a pageant and unmindful of adult concerns, succumbing to sleep, the thing that infants most need and yield to no matter the occasion.

But subconsciously the carver has conveyed to me the message that Mark gives in the incident about the storm on the lake. It was not accidental that Jesus slept on a cushion at the stern (neither was it inconceivable – it was evening, and as usual Jesus must have had a full day). His rebuke being proof, he gave the disciples a lesson on faith – of reliance on the protection of the Father so complete that like him they should have slept the storm away, as well as that his mere presence among them should have been assurance enough of safety. After all, he had power at any time to tell off the wind and the waves.

People who complain that God does not intervene enough in human affairs really want Him to do the work for them. But really with full faith in God they should first act, carry out their roles, let the play of their lives unfold, and not always whine for the Author to appear. Incidentally, C. S. Lewis tells us, “When the author walks on the stage, the play is over.”

Perhaps the Sleeping Santo Niño deserves a second look. It does no more than remind, not of a divine pastime, but of the proper human attitude – trust. The God who appears to sleep is really an unsleeping God – as watchful as a parent is of an infant that is learning to walk, and coming to its aid only when necessary.

+++

I love Jun's reference to the sight of the Child Jesus holding a saw as something that 'would have terrified good St Joseph'! As the son of a carpenter named Joseph myself I felt embarrassed the first time I tried to use a saw and didn't have a clue. I still don't!

'Who then is this, that even wind and sea obey him?'

The Gulf Stream, Winslow Homer (1899)

Last year Ateneo de Manila Press published a book by my friend Simeon Dumdum, Jr, Ah, Wilderness! Jun, whose day-job is that of a Regional Trial Court judge in Cebu City is a distinguished poet and his prose reflects that.

The subtitle of Ah, Wilderness! is A Journey Through Sacred Time. The short essays, which I think first appeared in the Cebu Daily News, are reflections linked to the different seasons of the Church’s liturgical year. In his introduction the author writes, ‘I move in a sacred world because God fills every space. Every journey – because in the en it s return to God – is a journey through sacred time.’ (Jun is expressing something similar to the quote from my patron St Columban on the masthead of my blog: ‘Since we are travellers and pilgrims in the world, let us ever ponder on the end of the road, that is of our life, for the end of our roadway is our home’).

I happened to read Jun’s essay Gulf Stream this morning in which he reflects on a painting by American painter Winslow Homer, The Gulf Stream. He writes: ‘One can look at Winslow Homer’s painting as an allegory of faith. The fuming waves and hungry sharks represent evil, and the boat the raft of faith that, though the fits of doubt have broken its mast, keeps one safely afloat. The painting calls up a scene from Mark. There, while Jesus and the apostles were crossing the lake a squall arose, terrifying everyone, except Jesus who was sleeping at the back of the boat. They woke him up, complaining that he did not care that they were about to die. But Jesus soot up and commanded the wind and the waves to be still, and they obeyed, and Jesus chided the apostles for their lack of faith’.

Christ in the Storm on the Sea of Galilee, Jan Brueghel the Elder, c.1596

This story, from Mark 4:35-41, is the gospel for tomorrow, the Twelfth Sunday in Ordinary Time, Year B. Below is the RSV translation.

On that day, when evening had come, Jesus said to them, "Let us go across to the other side." And leaving the crowd, they took him with them in the boat, just as he was. And other boats were with him. And a great storm of wind arose, and the waves beat into the boat, so that the boat was already filling. But he was in the stern, asleep on the cushion; and they woke him and said to him, "Teacher, do you not care if we perish?" And he awoke and rebuked the wind, and said to the sea, "Peace! Be still!" And the wind ceased, and there was a great calm. He said to them, "Why are you afraid? Have you no faith?" And they were filled with awe, and said to one another, "Who then is this, that even wind and sea obey him?"