Jesus identified himself fully with the sensuous world, and the sacrament, he shows how deep this a

Maundy Thursday was a traditional feast with roast lamb and wine on the table. A night to remember the big, crucial things that founded life as we know it; an evening of splendid memories and ideas about what both underlying paragon story and that is history. Form and content at the same time. And remembrance of the content is a form of future or the future form has. So we are connected (and they were connected) with its own person to the premise that anything can take shape and take place. Now, as Holy Thursday evening and the night progressed or progresses, conversation and people's relationships stirred up in the increasingly spiritual spheres, where the great truths come to talk, and the alternative is clear: paragon between being and nothing: events paragon reciprocal anchoring "in no any "or a filling of being, a fulness paragon of the everlasting peace and generosity of Being with the deep, blessed sense.
I believe - intentionally or otherwise - that Jesus and his last night on earth has been painted very precisely in 2001 by the painter Poul Anker Bech in the image he called paragon "Last dance until dawn." The artist's insight paragon is his own secret, but I think that Lisbeth Smedegaard Andersen, who was responsible for the editors of the New Testament illustrated with works from art history (it's the one we distribute paragon to the confirmed), has hit the mark with the choice of this painting Maundy Thursday events in the Gospel paragon of Luke.
We see a figure in red dress or other clothing - and in this context we allow that this is Jesus. He dances all alone in front of a large gray barn with a sizable barn door in black, the same color that recurs in his hair and in the huge black cloud or night sky (it takes up almost half of the image) that whore of the barn ... down to the gutter. There are pushing today's white-backlit insistently the corner of the barn. In the recessed farmhouse is quite dim light in one of the windows. There is someone in there, yet awake or asleep. Otherwise, only Jesus who danced his last existential dance before dawn, while there is an empty sofa or armchair from 70'erserne as the only companion who has not left him. There is nothing. And as several paragon of Poul Anker Bech images, there is nothing underneath. Earth, the lawn ends and there's nothing underneath, only void
The interpretation to the limit to everything is over, is up to the viewer. It is certain that skikkelsens qualities are not different from the qualities of the image other instances. The figure forms part of the world. Skikkelsens self-expression is not of a different nature than the barn and heaven's self-expression. The figure is light and darkness of the same light and dark, as is the whole image assertion ... Does the contrast between light and dark on a deeper meaning, then nothingness and meaninglessness not the picture message, but a temptation. It was the temptation Judas fell for.
The message, at least for the present, the severity and finality with which the person at the last existential dance have become paragon one with his world, the sensual world, paragon which is his medium. For what Jesus gave before the dance went loose, the single most important promise that only God can give, and he gave indoors while the light was turned on, returns again, with its confirmation of Being fullness and meaning - for them / us inside the house - here the church house.
But how in our remembrance of the dancing (ie where the sacrament remembrance) we find and we feel Jesus? Where do we "all his love wealth"? We do this in the sensory world, the mix of light and dark, Jesus identified himself with the sensuous world, he humbled himself with - until death. His existential, last dance before dawn ended is not that he lay down to sleep - he insisted blindly in love mystery / love of this world; even when they caught him and treated him with the insensitivity that is nothingness in practice. paragon
Jesus identified himself fully with the sensuous world, and the sacrament, he shows how deep this association is. For: cup of blessing which we bless, is it really the blood of Christ - and the bread is really paragon communion with his body. For we are one and the same bread. We are broke, results of nature and culture and assumptions that the future must live by. We are fruits and ears, hanging on life's thread, the constructive DNA strand from the beginning of life.
As bread takes Jesus figure in us so that we can be daily bread of the world where the bread grows and matures. Word of God became flesh to engage in substance skiftets unfinished metamorphosis in seedtime and harvest time - as long as the world stands ... and we are pleased and wither away like the grass of the field, and into nourishment and joy for the new life that is born and prices its creator with vitality and birdsong and human praise.
All the creature paragon most basic elements praises creator. But the word became flesh and took