Ezekiel’s vision of the ultimate iconoclast

In my last post I introduced Emerson, Lake, and Palmer’s “Tarkus” as a point of contact to the biblical truth that God is the ultimate iconoclast. I didn’t specifically detail the strange part-animal part-mobile machine which was Tarkus. Here we will briefly consider whether this strange being called Tarkus is in its essence conceived as being equipped for iconoclastic battle.

But before that, some backstory that should help explain why I’m even thinking this about “Tarkus.” I have recently been reading the book Ezekiel and decided to search to find whether anyone had created any visual depictions of the vision of God’s cloud chariot/throne, because I have always had trouble putting all the elements together into a cohesive whole. I discovered what seems to be a well done depiction which is the video posted above.

After watching it, and returning to thoughts about the “Tarkus” post, I realized that there were some common elements between the being called Tarkus and Ezekiel’s vision of God. These common elements include the presence of a mix of natural and mechanical qualities, and the overall abilities of mobility plus destructive power. Certainly there are also many differences, and I only point out the more basic elementary correspondences to further speculate concerning the intentions of Emerson, Lake, & Palmer. In summary, given the iconoclastic theme I mentioned in the first post, and the visual nature of Tarkus, it seems we have either an absurdly strange coincidence or an intentional thematic borrowing. Probably only ELP know the answer to this question.

Moving on to their possible source, in this post want to further explore Ezekiel’s vision of God as “the ultimate iconoclast.” In the previous post was a quote where Douglas Wilson, with the prophet Ezekiel in mind,  described God in this way. To illustrate Wilson’s title, I would like to present a few brief excerpts from an insightful commentaty on Ezekiel by Iain M. Duguid.

Duguid

 

The youtube video at the head of this post helps us “picture” Ezekiel’s ultimate iconoclast.

The book excerpts help show that Ezekiel’s vision differs from other earlier biblical visions of God and thus provide the biblical context revealing how in Ezekiel God was readying to undertake his iconoclastic work against (and for) Israel. Iain M. Duguid writes,

In the context of this popular Zion theology, it is easy to see the difficulty that Ezekiel’s earlier contemporary Jeremiah faced. He was called to oppose the complacency of those who kept repeating, “The temple of the LORD, the temple of the LORD, the temple of the LORD” (Jer. 7:4). His prophecies of judgment against Jerusalem were interpreted as high treason because they struck at the heart of this belief (Jer. 26:11) The tempe itself had become viewed as an amulet, a lucky charm to ward off evil. In response, Jeremiah simply pointed to the lessons of history. In the past, in the days of Samuel’s youth, Israel had placed the same kind of faith in the ark of the covenant, the symbol of God’s presence, instead of in the reality of God’s presence. The result had been the destruction of Shiloh and the “exile” of the ark..”Glory has gone into exile from israel, for the ark of God has been captured.”

It was this same false perception of safety that Ezekiel’s vision challenged. Two kinds of imagery dominate the opening vision of Ezekiel: images of motion and judgment. In contrast to Isaiah’s static temple imagery, Ezekiel’s vision is filled with movement. Whereas Isaiah saw the Lord seated in the temple, Ezekiel’s vision opens with the Lord in the midst of a motion-filled “windstorm” in the land of the exiles. God is not dead or sleeping, nor is he restricted to the temple, he is living and active and on the move. The Lion of Judah is restless. In general, such a depiction of the Lord’s coming to intervene in the lives of his people would be a positive development. However, in this case God’s activity does not bode well for the temple or for Jerusalem. It is only a short step from Ezekiel 1, where the glory of God is in motion, to Ezekiel 10, where the glory of God abandons the temple, leaving it defenseless against the Babylonian invaders.

The true and living God is not a tame God. He cannot be comfortably manipulated into a box and made to do our bidding. If he were, he would hardly be worthy of following. God’s radical freedom, bound only by his own self-revelation, means that his ways can never be reduced to a pat formula or a trite slogan. If his people abandon him, he may abandon them and fight against them. A lady reportedly asked Abraham Lincoln during the dark days of the civil war if he was confident that God was on their side. “Madam,” he is said to have replied, “I am less concerned whether God is on our side than whether we are on his side.”

Hopefully these excerpts have conveyed to the reader what and why the iconoclastic work of God is. That God assumes the role of iconoclast is a recurrent biblical event, because God’s chosen people Israel were prone, as were and are all human beings, to making idols.

Thus moving into what is now called the common era, Jesus of Nazareth essentially engaged in the same iconoclastic work, even specifically regarding the rebuilt temple, and was a major reason for the conspiracy that led to his crucifixion under Rome. The opposing religious leaders could not see that Herod’s “second temple” in Jerusalem was meant to be replaced by a temple not made with hands, namely a “temple” of people of all races and ethnicities in which the Spirit of God would then indwell. That Jesus did not merely point toward God the iconoclast, but actually embodied him as the ultimate iconoclast reveals many things. Probably the most important thing it reveals is that his death instigated at the hands of the anti-iconoclasts became by God’s power the ultimate iconoclastic victory for the freedom of humanity.

Isaiah 2:17-19English Standard Version (ESV)

17 And the haughtiness of man shall be humbled,
and the lofty pride of men shall be brought low,
and the Lord alone will be exalted in that day.
18 And the idols shall utterly pass away.
19 And people shall enter the caves of the rocks
and the holes of the ground,
from before the terror of the Lord,
and from the splendor of his majesty,
when he rises to terrify the earth.

Comments and questions, are always welcomed!

Original Content © Bryan M. Christman and Manifest Propensity, 2014. Excerpts, links, and reblogging may be used, provided that full and clear credit is given to Bryan M. Christman and Manifest Propensity with appropriate and specific direction to the original content.

 

“Iconoclast” – Emerson, Lake & Palmer’s “Tarkus”

Emerson, Lake, and Palmer’s 20 minute long 1971 prog-rock work “Tarkus,” contains one instrumental part called “iconoclast,” which along with some of the words from the lyrical parts seems to hint at a theme of iconoclasm. One lyric says

“…are your ears full, you can’t hear anything at all”

This ending of this lyrical part seems to show that “idols” tend to render their “worshippers” deaf to learning truth apart from their idolatrous belief “system.” I have of late been reading a current book by a Christian theologian in which he assumes the role of an iconoclast of sorts against what he sees as misguided “self-assured ecclesiastical assumptions” that have become veritable idols. Several brief quotes from the book are are below, following a few definitions of “iconoclast.” The first one is from google:

i·con·o·clast/īˈkänəˌklast/
noun
a person who attacks cherished beliefs or institutions.
a destroyer of images used in religious worship, in particular.

The second one is from Ambrose Bierce, who along with Mark Twain was one of the main non-religious iconoclasts of that period.

Iconoclast, n. A breaker of idols, the worshipers whereof are imperfectly gratified by the performance, and most strenuously protest that he unbuildeth but doth not reëdify, that he pulleth down but pileth not up. For the poor things would have other idols in place of those he thwacketh upon the mazzard and dispelleth. But the iconoclast saith: “Ye shall have none at all, for ye need them not; and if the rebuilder fooleth round hereabout, behold I will depress the head of him and sit thereon till he squawk it.” (Ambrose Bierce, “The Devil’s Dictionary” 1906.)

Naturally and logically, an iconoclast would be “unemployed” if it were not for human idol factories. Here are several quotes about this:

From this we may gather that man’s nature, so to speak, is a perpetual factory of idols.

— John Calvin, Institutes of the Christian Religion I:XI.8

In short, there is absolutely nothing that God can give us that we are incapable of turning into an idol… So it is no sacrilege to be “against the church.” God is the ultimate iconoclast, and God told His angels to begin at His sanctuary, and he told them to get in there and defile it. That he had a higher purpose in mind can be seen elsewhere in the book of the prophet (Ezekiel). (Douglas Wilson, “Against the Church” 2013.)

Jesus of Nazareth certainly took on the role of the ultimate iconoclast against the belief system of the religious establishment of his day. These religious leaders ironically epitomized the lyric in Tarkus with their ears so “full” of their religious system that they could not “hear anything at all” of the words of Jesus the “Word of God” (see John 1:1-14). Using a sight metaphor rather than a hearing metaphor, Jesus said this to them:

“For judgment I came into this world, that those who do not see may see, and those who see may become blind.” 40 Some of the Pharisees near him heard these things, and said to him, “Are we also blind?” 41 Jesus said to them, “If you were blind, you would have no guilt; but now that you say, ‘We see,’ your guilt remains. (John 9:39-41; English Standard Version)

What the iconoclastic endeavors of Emerson, Lake & Palmer, have in common with Ambrose Bierce, Douglas Wilson, or Jesus of Nazareth is impossible to know, due to the obscurity of the lyrics. But it is interesting to wonder about their intentions as we listen to the song and hear the lyrics. It is also an interesting merely as a fairly epic early 70’s prog-rock song, complete with comic book style scenes of the adventures of “Tarkus.”

Tarkus2

I was reluctant to mix apocalyptic/comic book sci-fi fantasy/progessive-rock music, with such a serious subject as biblical/historical iconoclastic “battles.” But I couldn’t resist letting “Tarkus” be an interesting contact point between we “idol factory” humans and God who in love is our ultimate iconoclast.

I welcome any comments! Thanks…

Original Content © Bryan M. Christman and Manifest Propensity, 2014. Excerpts, links, and reblogging may be used, provided that full and clear credit is given to Bryan M. Christman and Manifest Propensity with appropriate and specific direction to the original content.