Directly in front of me
he is here,
him on this quiet morning
in a room of the Byzantine Museum, Athens,
in the hundred-degree heat and dust
of a city not yet fully awake.
Here, and I am suddenly confronted—
the oldest icon in existence—with
his image.

The rest of the room evaporates,
and all I see is him:
Pure mystery, great and wondrous,
dizzying and terrible.

How can wood and pigment
egg yolk and animal skin convey
such ethereal truth,
intensify the power,
captivate Christian eye and heart?

Christ of Sinai looks at me
with steady gaze.
His eyes—the famed twins
Justice and Mercy—
see straight through me
piercing the whitewashed tomb
of my exterior till it hurts.
One eye is dark, foreboding
shadows between the brow and lid
deepening and on the verge of righteous anger—
the other eye embraces all
even my unworthy soul.
I stand and cannot pray. My eyes swell with tears.
I cannot look anymore.
~Ed Higgins from “Icon: Christ of Sinai” from Near Truth Only 

I was not raised with religious icons. I have little understanding about how they may comfort and encourage those who value and even worship them. Yet I do understand inspiring art and words may deepen our faith in God. This has been true for millennia.

This particular Byzantine icon, the oldest known of Christ, is preserved from the 6th century, an early representation with an intense gaze from eyes that are both from man and God.

I look for tears in those eyes. My own fill up knowing Christ is able to see the depths beyond my white-washed exterior.

I look away, ashamed.

Because He sees what we try to keep from Him, Jesus weeps,
knowing the truth about us, yet loving us anyway.

You are like whitewashed tombs, which look beautiful on the outside but on the inside are full of the bones of the dead and everything unclean.
Matthew 23:27

This Lenten season I reflect on the words of the 19th century southern spiritual hymn “What Wondrous Love is This”