The eighteenth-century British philosopher and statesman Edmund Burke, in speaking of the sublime, identified it as “astonishment,” that is the “state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other.” And, for illustration, he pointed to the ocean, which can be “an object of no small terror.” [1]
Featured in Thirty-Six Views of Mount Fuji, this woodblock print captures the peril of three fishing boats tossed by a rogue wave in Sagami Bay, twenty-five miles southwest of Tokyo. In the year this painting appeared, 1831, another great outdoor painter, John James Audubon, traveled from England to New York to begin his work on Birds in America; Meanwhile, over in Europe, the Impressionist artists, Monet and Renoir were still children, but they would one day be influenced by Hokusai’s work.
There is much beauty in nature, but aestheticians have identified an experience that goes beyond savoring a sunset, delighting in a blanketing snowfall, or taking in the fall colors of New England. They speak of “the sublime,” that which is intimidatingly splendid. It’s kin to a word occurring five times Psalm 24:7-10—‘glory,’ as in “the King of glory.” The Hebrew word for ‘glory’ is kabod, a cognate of kebed (“heavy”); it connotes substance and heft, the sort of awesome presence that terrified Isaiah in his chapter six. Painfully aware of his deplorable weakness, the prophet feared being “crushed” by the sovereign holiness of God.
The eighteenth-century British philosopher and statesman Edmund Burke, in speaking of the sublime, identified it as “astonishment,” that is the “state of the soul, in which all its motions are suspended, with some degree of horror. In this case the mind is so entirely filled with its object, that it cannot entertain any other.” And, for illustration, he pointed to the ocean, which can be “an object of no small terror.” [1]
In his Critique of Judgment, Immanuel Kant supplied other examples of the sublime:
Bold, overhanging, and, as it were, threatening rocks, thunderclouds piled up the vault of heaven, borne along with flashes and peals, volcanoes in all their violence of destruction, hurricanes leaving desolation in their track, the boundless ocean rising with rebellious force, the high waterfall of some mighty river, and the like, make our power of resistance of trifling moment in comparison with their might.[2]
And so we’re pointed to the oceans, whose water covers around seventy per cent of the earth and whose dynamics are quite sublime, as Hokusai knew full well.
This painting hails from the Far East, in contrast with the other three, which are Western. I include it to underscore the gospel implications for lands unknown to (even unsuspected by) the Israelites in David’s day. Though Psalm 24 is Hebrew scripture delivered to God’s chosen people, its reach circles the globe. As Augustine observed of Psalm 24:1-2, “This is true, for the Lord, now glorified, is preached to all nations to bring them to faith, and the whole world thus becomes his church.” [3]
The Domes of the Yosemite (1867), Albert Bierstadt, The Athenaeum, St. Johnsbury, Vermont
Psalm 24:1-2 – 1The earth is the Lord’s, and the fulness thereof; the world, and they that dwell therein. 2 For he hath founded it upon the seas, and established it upon the floods.
Bierstadt, an eighteenth-century German-American painter was remarkable for his glorious landscapes, as were other Americans of the Hudson River School—Frederick Church, Asher Durand, George Inness, Thomas Cole, Thomas Moran, and Thomas Cole. Whether working in the Hudson Valley, the Sierra Nevadas, Yellowstone, or the Andes, these men astonished their viewers with breathtaking portrayals of God’s handiwork. Bierstadt introduced many to the Rockies, helped spur the conservation movement, and has been featured on two of America’s commemorative stamps.
This painting portrays California’s Yosemite Valley, granted protection under Abraham Lincoln in 1864 and designated a National Park in 1890.
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