Article
Art
Culture
6 min read

St Kilda: sketching sanctuary and struggle

A remote Scottish island’s many meanings catch an artist’s eye.

Alastair Gordon is co-founder of Morphē Arts, a painter and art tutor at Leith School of Art. He works from his studio in London and exhibits across the UK, Europe and the US. 

An artist holds a sketchbook while standing overlooking a deserted village by a bay, sided by jagged cliffs.
Sketching on St Kilda.

Nestled amidst the tempestuous waters of the North Atlantic Ocean, the islands of St Kilda stand as a testament to isolation unparalleled in the British Isles. Located miles out from the Scottish mainland, the islands form an archipelago that rises defiantly, resembling a fortress of solitude amidst the tumultuous waves. 

In 1930, the islanders made a heartfelt plea to be evacuated from their beloved home, as the challenges of survival had become insurmountable. This marked the poignant conclusion of a remarkable two thousand years of human existence on the islands and no permanent community has been established since. Presently, St Kilda stands as a wild and desolate terrain, teeming with a diverse array of wildlife. Amongst the rugged slopes, one can witness the unexpected presence of wild sheep, descendants of the original livestock once cared for by the community. Following the evacuation, the sheep were left to roam freely, adapting to their newfound freedom. Isolated from the outside world for countless centuries, the islands have even given rise to their own unique subspecies of mouse and wren, a testament to the extraordinary resilience of life in this remote haven. 

It took me three arduous attempts, spread across consecutive years, to finally set foot on the elusive Hirta, the main island in a cluster of islets and sea stacks known collectively as St Kilda. Access to this remote wilderness is only granted during the warmer months, and my previous endeavours had been thwarted by relentless bouts of stormy weather. However, these failed attempts only served to intensify my determination, turning the eventual arrival into a pilgrimage of sorts, where the sweet taste of success was amplified by the challenges overcome. 

Standing at the water's edge, I found myself contemplating the concept of an island as a unique form of solitude, a refuge or retreat, perhaps even a hermitage or prison. 

As St Kilda emerged on the horizon, it appeared like a jagged tooth or a mystical axis mundi, a place where the earthly and spiritual realms intersect. Despite its wild and untamed nature, the island is paradoxically dominated by the imposing presence of the Ministry of Defence. Strange listening devices and radars loom over the cliff tops, as if engaged in a silent conversation with the world beyond. Stories of St Kilda often carry an air of romanticism, but the reality of island life was harsh and unforgiving. 

As our boat ventured into the circular embrace of St Kilda, a sudden stillness descended upon the waters, transforming the surroundings into an idyllic oasis of tranquillity. The island, formed from the remnants of a volcanic eruption, boasts a natural harbour in the shape of a perfect circle, its walls rising like a majestic amphitheatre to a towering height of 426 metres, equivalent to the Empire State Building, before plunging abruptly into a sheer drop.  

The village, consisting of a single street lined with stone cottages known as Black Houses, was the epicentre of island life. Daily existence revolved around the rhythms of fishing, agriculture, and church. Each morning, the island parliament convened to allocate the day's tasks, which often involved harvesting birds, tending to livestock, and repairing nets. Every year, the men of the island would scale the treacherous cliffs with nothing more than homemade ropes to gather the young birds from their precarious nests, while their protective parents swooped and dived in an attempt to thwart such pillaging. Winters were harsh, and the traditions of the church were strict. Missionaries were sent to the island to minister to the faithful, imposing a rigid routine of spiritual disciplines that seemed to serve as both law and religion.  

Upon reaching the shore, we were greeted by the island steward, one of only two current inhabitants of the island and resident only in the warmer months. Unless, of course, one counts the Ministry of Defence, whose enigmatic presence permeates every corner of the island. Their satellite dishes and listening posts loom ominously, as if engaged in some clandestine communication with an unseen realm, shattering the illusion of complete wilderness.  

Standing at the water's edge, I found myself contemplating the concept of an island as a unique form of solitude, a refuge or retreat, perhaps even a hermitage or prison. It brought to mind the image of Superman in his fortress of solitude or Edmond Dantès, a victim of misfortune, imprisoned and abandoned until the idea of the Count allowed for a rebirth. 

But deep down, I knew that this fantasy was far from the brutal reality faced by those who eked out a living on the edge of the world 

As a child, I often sought solace on islands during family holidays. There was something about the encircling presence of land surrounded by water that evoked a sense of tranquillity, a sanctuary away from the worries of the world. A sacred space where a weary soul could commune with the divine.  

As I ascended the steep walls of Hirta, my camera in hand and sketchbook tucked under my arm, I couldn't help but feel a sense of purpose. I felt like one of those Romantic painters of the previous century who attempted to bring a taste of the natural sublime to the city dwellers, trapped in their concrete jungles and smog-filled air. In that moment, I released mine is not the task of modern-day Romantic painter, venturing into the wilderness to capture moments of awe-inspiring beauty but to chronicle the mundane moments of domestic sublime as witnessed by this landscape through centuries of human inhabitation. The images I captured and the sketches I made now form the basis of new paintings to feature in an upcoming exhibition at An Lanntair gallery in Stornoway.  

But as I continued my climb, I couldn't help but question the romantic notions that had fuelled my journey. The landscape itself remained indifferent to my perception of it. It cared not for the grand narratives I projected onto its rugged terrain. It simply existed, unyielding and unapologetic. 

And what of St Kilda? Was it truly an idyllic haven, shielded from the political and ecological pollutants of the outside world? Or was it a fortress of solitude, where harsh regimes and a cruel climate ruled? Perhaps it was an oxymoron, embodying both extremes simultaneously. 

As our boat sailed away from the island, I found myself pondering the reality of life on St Kilda. What was it truly like to inhabit such a remote place? At times, I allowed my imagination to wander, envisioning a utopia where crime was unheard of, where the absence of policing was a testament to the inherent goodness of humanity. But deep down, I knew that this fantasy was far from the brutal reality faced by those who eked out a living on the edge of the world. Life on St Kilda must have been a constant struggle, a battle against the elements, made bearable only by the flickering hope of a better future. 

As I packed away my camera and sketchbook, I couldn't help but feel a sense of gratitude for the opportunity to glimpse into the past, to touch the remnants of a forgotten world. The exhibition I will present in Stornoway will be more than just a collection of art; it will be a tribute to the resilience of the islanders, not just in St Kilda but across the Outer Hebrides in times of hardship, to their ability to find beauty and hope in the harshest of circumstances. And as I prepare to share their story again through painting, I hope that it will serve as a reminder of the fragility and strength of the human spirit, even in the face of isolation and adversity. 

 

Alastair Gordon is an artist based in Edinburgh and London. His new exhibition of paintings opens at An Lanntair in Stornoway, Isle of Lewis, 31 May 2024. The exhibition coincides with a parallel two-person exhibition with Elaine Woo MacGregor opening the same night at Cynthia Corbett Gallery, London.   

Explainer
Christmas culture
Culture
Middle East
7 min read

The mysterious Magi: outsiders, outlandish, Uyghur?

Many claimed the Wise Men, wherever the story was heard.

Benjamin is a DPhil student in the Faculty of History at the University of Oxford. He is researching the experience of Christian communities in medieval Central Asia.

Silhouttes of three wise men approach the Virgin and Child, painted on stone.
The Magi, Catacombs of Priscilla, 250AD.
Public Domain.

Our nativities are full of familiar figures. Mary and the angel Gabriel, Joseph and the landlords of Bethlehem (of varying hospitality), the shepherds above the town and the heavenly host. Finally, there come the three gift-bearers. While familiar, these perhaps remain the most mysterious guests at the manger. Are they three kings? ‘Wise men’? ‘Magi’? What indeed is a ‘magi’?  

Most of the features of our nativity come from the first two chapters of Luke’s gospel, but the magi (along with their counterpart, King Herod) are the primary contribution of Matthew’s gospel, appearing in the second chapter. The word used in Matthew is magi (magoi), a term that was often used for the priests of the Persian religion, today known as Zoroastrianism but in Antiquity known to outsiders simply as ‘magianism’.  However, in the gospel it is perhaps intended to carry less specific meaning, instead indicating more broadly those learned in esoteric knowledge, hence our common translation of ‘wise men’. We might be reminded of the class of experts who Nebuchadnezzar summoned to help interpret his dreams, over whom he promoted Daniel to be chief. These were people both knowledgeable and practiced in observing the patterns of nature, experts in hidden knowledge and science, propitiating and interpreting the divine, ‘magic’, alchemy, and astrology. Indeed, this is where we get our word magic from. It is someone of this kind who is intended by the other use of ‘magic’ in the New Testament, when in the book of Acts Simon the ‘magi’, having believed and been baptised, asks to buy the power of the Holy Spirit from Peter and John. Whichever definition is intended in Matthew, these are unexpected guests in Bethlehem.  

We learn very little further about them besides that they came from ‘the east’, to which they return as mysteriously as they arrived. Might they perhaps have been from one of the neighbouring eastern states that lay just outside the borders of the Roman Empire, such as Osroene, Adiabene, or Armenia, or even from the great Persian Parthian Empire? Parthia and its provinces were named specifically in the Book of Acts, but Matthew’s is a far more ambiguous reference. Indeed, many scholars would question the historicity of the episode of the magi’s visit, seemingly unrooted in time and place in contrast to the historical and geographical grounding of the rest of the gospels, and so clearly serving as a fulfilment of prophecy about the messiah. The old song of Psalm 72 says: “May the kings of Tarshish and of distant shores bring tribute to him. May the kings of Sheba and Seba present him gifts. May all kings bow down to him and all nations serve him.” Elswhere the book of Isaiah records: “The nations will come to your light, Kings to the brightness of your dawn… young camels will come bearing gold and incense, proclaiming the praise of the Lord.” When you see the gift-bearing magi represented as camel-riding kings on your Christmas cards, they are being shown as the fulfilment of these prophecies.  

Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi.

What is crucially important in their role as prophecy-fulfillers is that they are gentiles. Indeed, they are the first of those outside of God’s chosen people to recognise the Messiah. While Luke shows Jesus announced to the poor and humble among the Jews, rather than the priestly or royal, Matthew shows him recognised by the gentiles, the first trickle of a mighty torrent prophesied throughout the Old Testament: “All the nations you have made will come and worship before you, Lord,” sings the Psalmist. “In the last days the mountain of the Lord’s temple will be established… and all nations will stream to it,” records Isaiah once more. This is echoed also in Micah, the book quoted in Matthew by the chief priests to the magi: “The mountain of the Lord’s temple will be established, and many nations will come and say – let us go up to the mountain of the Lord.” These were outlandish claims and the magi represented the outlandish start of their fulfilment.  

Nevertheless, the magi in Matthew don’t float entirely untethered from historical reality, as they act out a story within the solidly historical setting of Herod’s final paranoia. His anxiety about the title ‘king of the Jews’, and his desperate massacre of the innocents both fit with what we know of his last days. For Herod, an Idumean (or Edomite), his questionable Jewishness had been a source of anxiety throughout his life, and he had become deeply unpopular by the end of his life, perceived as far too close to the Romans. Some scholars have suggested that Herod would have found fewer than a dozen infant boys around Bethlehem, as such it is unsurprising that his order is otherwise absent from the historical record. One of the few authors to cover this place and time was Josephus but writing almost a century later, he is much hazier on this period. He does, however, note that at this time Herod’s paranoia had driven him to kill three of his own sons, including his heir, historically much more significant and shocking. Josephus also claims, that on his deathbed Herod gave orders to have all the principal men of the entire Jewish nation killed when he died, to increase the mourning of the people, orders which were not carried out. 

That one day people of all nations and tongues would come to worship the God of Israel is one of the more outlandish claims recorded in the Old Testament. Even for early Christians, who were more actively seeking its fulfilment, it must have remained somewhat unimaginable, given they were still a minority in a corner of the Roman and Persian Empires who knew very well that human societies stretched on beyond their known horizons. By the Middle Ages, it was appearing a lot less outlandish. There were now Christians as far flung as Iceland, China, and Ethiopia. Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi. They imagined them as three kings (echoing prophecy and expounding scripture) from the three ‘petals’ of the world which connected at Jerusalem, representatives of the many gentile nations who would embrace the gospel. One for Europe, one for Asia, one for Africa; even in medieval Europe the church was understood as encompassing all three, and the magi were the first indication that it would.   

In Asia, ‘east’ of Jerusalem, the magi assumed different significance. Whether in Persia or China, claims were frequently made that the magi had come from their own place or people. Among the Christians of Mesopotamia (covering present-day Iraq and parts of Syria and Turkey), where Christianity had first arrived under the Parthian Empire, various legends were written about them in Syriac (a dialect of Aramaic). Here they often numbered twelve and were claimed as the founders of various churches and villages. Further east, and later, in the thirteenth century, an Armenian Christian lord, Smbat Sparapet, recorded in a letter that, while travelling across the Mongol Empire and visiting Christians in Central Asia and China, he had noticed they all decorated their churches with images of the magi. He recorded that the magi were believed to have originally come from China, from the region corresponding to present-day Gansu province. His brother, the Armenian king of Cilicia (south-east Turkey), who later made the same journey alternatively recorded that the magi had rather come from among the Uyghurs.  

The Turfan Oasis, lying to the north of the great Taklamakan desert in today’s Xinjiang province in China, also known as the Uyghur Autonomous Region, was home to a community of Uyghur Christians between at least the eighth to fourteenth centuries. One of the few surviving indications of their presence is a large collection of fragmentary manuscripts, preserved by the dry desert conditions. Among these is a unique legend concerning the magi, originally written in Syriac, but here translated into Uyghur. It preserves the account from Matthew but with some additions. For instance, the identification of the magi with the Zoroastrian priesthood is made explicit, probably owing to the original Syriac authors’ own familiarity living among the ‘magians’ of Mesopotamia. Most striking of all though is the word choice of the Uyghur translator. Approaching the infant Jesus, the magi hail him as ‘Khan Messiah, the son of Tengri.’ The magi’s royal gift of gold recognises Jesus as ‘khan’, a straightforward translation of ‘lord’ but one which carries local cultural resonance. Tengri, however, was the high God of the Uyghurs and Mongols. He was the creator, present everywhere, but associated particularly with the heavens. To see Tengri in Jesus was to see the mighty God who forged their own sky and steppe come to earth as infant and man.  

The popular legend that the magi had come from among the Uyghurs, which perhaps motivated this translation, connected their immediate reality to the distant settings of the gospel stories. Like the legends of the medieval west, this too served to communicate the truth that in the recognition of Jesus by the first gentiles, the magi, could be seen the start of the gospel’s journey to all gentiles, all nations, tongues, and petals.  

This Christmas, when you see the magi on your cards and in your nativity scenes, or you sing carols about three kings, think about the deep traditions that have formed these images, representations of prophecies fulfilled in Jesus, of the inclusion in the kingdom of all nations and of you too. 

Join with us - Behind the Seen

Seen & Unseen is free for everyone and is made possible through the generosity of our amazing community of supporters.

If you’re enjoying Seen & Unseen, would you consider making a gift towards our work?

Alongside other benefits (book discounts etc.), you’ll receive an extra fortnightly email from me sharing what I’m reading and my reflections on the ideas that are shaping our times.

Graham Tomlin

Editor-in-Chief