Explainer
Belief
Creed
9 min read

What does the word ‘God’ mean anyway?

After asking why belief matters, Barnabas Aspray turns to transcendence as a way of defining God. The second in a series exploring the Nicene Creed.

Barnabas Aspray is Assistant Professor of Systematic Theology at St Mary’s Seminary and University.

A cloud-dappled s blue sky is viewed through a large circular opening, from below.
The view from a modern cave.
Shelter on Unsplash.

God’ is one of those words we think we understand, but many of us really don’t. Both believers and unbelievers often fall prey to a misguided idea of what the writers of the Nicene Creed meant by the word ‘God’.  

Consider this description of God as an example: 

God is an immensely powerful spiritual being, more powerful than anyone else in the Universe. He is invisible; he lives in heaven, but he can also be everywhere at once. He created the world a long time ago, and sometimes intervenes in the world today to perform miracles or answer prayers. His arch-enemy is another powerful spirit called Satan, but God is more powerful than Satan and will one day defeat him. 

Almost everything about the above paragraph is either misleading or false from a traditional Christian point of view, yet it is not far off from the way many people today think about God. If we want to come up with a better definition, we need to understand, first that there are different kinds of reality, and second, that God belongs to his own unique kind of reality. Let’s use analogies to make each of these points.  

God is like the number 2  

Let’s have a look and a laugh at this XKCD webcomic.

A cartoon strip of a maths teacher explaining a proof.

What makes this comic funny is that the maths teacher is confusing two types of reality: 

  1. Physical, contingent realities whose existence is contingent (might or might not have existed), that exist in a particular place and time, and that can be destroyed. 

  1. Non-physical, non-contingent realities whose existence is necessary (cannot not exist), that are not in space or time at all, and that cannot be destroyed. 

The maths teacher is treating a number as if it had the first kind of reality when in fact it has the second. It doesn’t make sense to ‘find and destroy’ a number. If the number 2 ceased to exist, what would 1+1 then be equal to? What would it mean if you saw more than 1 but less than 3 objects together, or would that no longer happen? Numbers are not the kind of things that you can remove, leaving the rest of the Universe unchanged. They are part of the fabric of reality, and we can’t really conceive a Universe without them.  

Now, when we’re talking about God, this is the crucial thing to understand: the kind of reality that God has is more like the reality of numbers than the reality of physical objects. Like numbers, God is intrinsic to the way reality works. Like numbers, God can’t be located anywhere, yet without his presence reality would not make any sense. Like numbers, God can’t be seen, only represented through signs and symbols.

Compared to God, we are like two-dimensional beings 

Let me introduce you to Flatty. 

A line drawing of a flat round bug with six legs and two eyes.

Flatty is an entirely two-dimensional creature, living in a two-dimensional world called Flatland. In this world, there is no up and down, only left, right, forward, and backward. There are no spheres, only circles. There are no cubes, only squares. If I draw a square around flatty, it imprisons him. He cannot go over it or under it, because there is no such thing as ‘over’ or ‘under’ in Flatland. If I draw an object in front of Flatty, it looks to him as if it appeared out of nowhere. 

Now, imagine you could talk to Flatty. Your voice would seem to be coming from nowhere, since he can’t see anything in three dimensions. How could you persuade him that you exist and he’s not going crazy? Perhaps you could press your finger on the surface of flatland. The fingerprint would appear like a strange oval shape, but that would only be the tiniest hint of what you look like. You could try to explain that you’re above him, but the word ‘above’ is meaningless for him so he would not understand. 

Suppose Flatty was persuaded that you existed. How could he prove to other flatties that you existed? He has no words to describe you with except the ones you’ve given him, which have no meaning in a two-dimensional Universe. He can’t point to you, and he can’t offer any evidence. All evidence he might have would be two-dimensional, which misses the kind of reality he wants to prove.  

Now the point of this analogy is that we are like Flatty in relation to God. We lack the language to describe God because his reality is so much greater than ours that our minds are not equipped to conceive or describe it. God can speak to us – he can even make strange appearances in the physical world sometimes, but those appearances only convey the tiniest hint of who he is.  

This is what the Christian tradition has always meant when it says that God is ‘transcendent’. The word ‘transcendence’ is an attempt to give a name to something we have no concept of and no ability to fully comprehend: the idea that there is a reality beyond the three-dimensional reality that we can see and experience, and that God inhabits that reality. 

Let’s return to the misleading definition of God we quoted above and correct some of the points: 

  • It is true to say that God is invisible, but this is not an accident, as if God could have been visible. It’s part of the very nature of God that he cannot be seen, because the only things that can be seen are things that belong to the three-dimensional world. (If you think about it, numbers can’t really be ‘seen’ either. The way we write the number 2 is just as symbol to represent something that has no visible form. Even if we see two objects together, we are not seeing the number 2 itself, merely an instance of its use in one particular place and time.)   

  • God does not ‘live’ in heaven as if he were an object that could be located somewhere. ‘Heaven’ is itself a name for the transcendent reality that we cannot fully conceive (this is more obvious in the biblical languages, and in French, German, and Spanish, where the word for ‘heaven’ and the word for ‘sky’ are the same, yet nobody is confused and thinks you’re talking about the sky). When we say that God is in heaven, we mean that God’s reality is more tangible and present there than it is here on earth, although that will not always be the case.  

The other misleading aspects of that initial quotation will be addressed in the next article on the doctrine of creation. 

Why this is not apologetics 

None of this counts as an argument for the existence of God, even if it makes a difference to how such arguments would go. The above should not be taken as evidence that God exists, but as providing a definition of God that we need before any productive argument can begin. The reason so many atheists and theists seem to be talking past each other is that they so often start with different definitions of God without realising it. David Bentley Hart puts it this way: 

The most pervasive error one encounters in contemporary arguments about belief in God … is the habit of conceiving of God simply as some very large object or agency within the universe, or perhaps alongside the universe, a being among other beings, who differs from all other beings in magnitude, power, and duration, but not ontologically. 

One example of this mistake is what Richard Dawkins says in the following: 

I have found it an amusing strategy, when asked whether I am an atheist, to point out that the questioner is also an atheist when considering Zeus, Apollo, Amon Ra, Mithras, Baal, Thor, Wotan, the Golden Calf and the Flying Spaghetti Monster. I just go one god further. 

Dawkins has cleverly turned the tables, making it look as if all the religions disagreed with each other, when in fact most of them agree against atheism on the question of God, and only disagree much further down the line. It is as if someone were to count English accents as different languages, and then propose making Flemish the international language because more people speak it than any of the varieties of English. 

More specifically, Dawkins’ mistake is to confuse capital ‘G’ God and lowercase ‘g’ gods which is not the plural of ‘God’ in any major religion. Lowercase ‘gods’, whether they exist or not, still live inside the Universe and are part of it like you and me. The Bible itself, even though it is a monotheistic book, uses the term ‘gods’ in this way (see e.g., Psalm 82, 86, 98).  

FAQs 

Is this really a biblical conception of God? Why are there so few Bible quotes in this article? 

The point of this article is to explain what the writers of the Nicene Creed meant when they used the word ‘God’. They believed that their conception of God was derived from the Bible and accurately reflected the biblical view. Their conception of God has come to be called ‘Classical Theism’, which is the mainstream position taken by the majority of theologians and denominations throughout Christian history. In recent years, some academic theologians called ‘open theists’ have argued that Classical Theism did not come from the Bible but from ancient Greek philosophy, and is therefore not properly Christian. If they are correct, it means that they have understood the Bible better than almost every theologian in the first fifteen centuries of the Church, including the writers of the Nicene Creed. Their argument has not been accepted by most churches and denominations, and it depends on a not-universally agreed understanding of how Christians ought to interpret the Bible. To explain why I think the Bible supports Classical Theism would be to write a completely different, and much longer, article. There are many resources already out there that show how the classical conception of God is not only derived from the Bible, but rejects a lot of Greek philosophy in favour of the Bible. If you are interested in this debate, you might consider the following resources to start with: Paul Tyson, Returning to Reality: Christian Platonism for Our Times (Wipf & Stock, 2014); Andrew Davison, Participation in God: A Study in Christian Doctrine and Metaphysics (CUP, 2019); Simon Oliver, Creation: A Guide for the Perplexed (Bloomsbury, 2017); Paul L. Gavrilyuk, The Suffering of the Impassible God (OUP, 2004). 

What about Jesus? Doesn’t this conception of God leave out the most central Christian tenet, that Jesus is God?  

To say that ‘Jesus is God’ has no meaning unless you first have a definition of God that the word ‘Jesus’ can apply to. That is why the Bible starts by building up a conception of God in the Old Testament, before revealing in the New Testament that this same God came among us in the person of Jesus. That’s why it’s misleading to say (as some Christians do) ‘If you want to know what God is like, look at Jesus’. It’s true at the level of God’s character, but not at the level of God’s nature. If you are interested in this question, I would suggest reading Rowan Williams, Christ the Heart of Creation (Bloomsbury, 2018). 

This definition of God makes him seem impersonal. Doesn’t Christianity teach that God is personal? 

It’s true that God has chosen to relate to us as one person relates to another, and in that sense we can call God ‘personal’. But we must be careful of letting that idea run away with itself, until we imagine God to be like a human being, only bigger and more powerful. This is called the mistake of anthropomorphising God. If you’re interested in avoiding anthropomorphic conceptions of God, I would suggest starting with David Bentley Hart, The Experience of God: Being, Consciousness, Bliss (Yale University Press, 2014). 

 

 

Review
Art
Character
Creed
Easter
Suffering
5 min read

Why sculpt the face of Christ?

In Nic Fiddian Green’s work we feel pain, strength, fear and wisdom.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A man looks up a shaft of light that illuminates him and a crucifix higher up a wall.
I Accepted, 2025.
Richard Foster.

The seeds of faith were sown in the life of Nic Fiddian Green by his father. As he has explained recently, he “was shown a way and a faith, and an understanding around the faith of Christianity, in the way my father lived”. 

Later, his wife-to-be, Henrietta Hutley, asked him to help create Stations of the Cross for the Wintershall Estate in Surrey where, today, The Nativity and the Life of Christ are regularly performed. Henrietta’s father, Peter, wrote and brought The Passion of Jesus to Trafalgar Square, while her mother, Anne, had the vision for the Stations of the Cross project after a life-changing visit to Medjugorje. 

Fiddian Green says that “The Face of Christ has been with me for over 40 years” and that he has “searched for His face through my art as part of my spiritual journey, and also in the work of many others – especially Renaissance artists like Giotto, Piero della Francesca and Michelangelo”. 

Fiddian Green, who is internationally celebrated for his monumental equine sculptures, has created a deeply personal and spiritually resonant exhibition entitled The Face of Christ. The exhibition features 20 new sculptures including works in bronze, copper, lead, marble, plaster, and silver, together with a series of drawings. The exhibition ranges from the Nativity to the Resurrection but focuses primarily on the crucifixion.  

The exhibition is deeply personal for Fiddian Green because it is informed by the harrowing encounters he had with an array of life-threatening illnesses a few years ago. These caused an obvious and honest creative re-assessment and it is from these experiences that a stronger, deeper and more contemplative vision has emerged. One that permeates the new work via modes of stillness and reflection.  

The Face of Christ offers a profoundly meditative engagement with the image of Christ, capturing a sense of serenity, resilience, and transcendence in bronze and stone. In these works, he shows us how his spirit and his faith help him triumph over the physical as he explores the enduring power of faith, suffering and redemption. In the eyes of his work, we feel pain, strength, fear, wisdom and more as he asks questions of the viewer that leave a powerful and spiritual resonance. 

Fiddian Green says: “These works are a reflection of my journey of faith. I have come to find that His power to elevate us underpins everything I strive to do and The Face of Christ is an attempt for me to convey in my work all that He conveys in my heart. Christ gives me the key, but will I open the door…?” 

While the exhibition focuses on the crucifixion and the face of the crucified Christ, the expression on Christ’s face is generally one of peace, rather than pain. In part, this is because many of the heads of Christ included are images of Christ resting in death prior to the resurrection. The brokenness that the crucifixion brought is shown in these images through damage to the body of Christ, as opposed to the expressions on his face. This is most powerfully the case with ‘Broken for You’, a bronze crucifixion sculpture where Christ’s torso, as well as being scarred by a long spear-like fissure, has also been fractured with the two parts fused together using brace brackets. Similar fissures appear on other of the crucifixion sculptures but ‘Broken for You’ goes furthest in graphically showing the pain Christ endured on our behalf. 

It seems to me that Fiddian Green could go further in revealing the horrors that Christ endured and that his love of Renaissance art with its focus on beauty and balance might hold him back in this regard. Another artist to have regularly depicted the Crucifixion in images shown in mainstream galleries in recent years is Peter Howson, whose images of the crucifixion are much more expressionist graphically capturing the depth of pain that Christ endured. Fiddian Green’s drawings, more than his sculptures, tap into the sense of pain endured, particularly ‘This Storm will Pass’, a partial image of the face of the crucified Christ which in its frenetic pencil-marks and incomplete state speaks particularly powerfully. 

Fiddian Green, by contrast, primarily gives us a sense of the peace that he receives from Christ on the face of Christ. ‘I Forgive’, a bronze head of the crucified Christ depicts the love with which Christ looks on us as he endures the cross. ‘Christ is Laid to Rest’ is a huge head encircled by a crown of massive spikey thorns with green verdigris overtones suggesting the sweat and blood of anguish which has led to the completion of purpose that Christ finds in death. ‘Peace’, a plaster sculpture of Christ’s head, is also redolent of the supreme achievement of the cross; ‘It is finished’, meaning that all his work is complete and done, enabling him to rest and enabling us to enter rest.  

In these images, Fiddian Green is reading back into the events of the crucifixion the outcomes that it gains for us and showing, in his Christ figures, the peace that he personally finds in the love and forgiveness which overflows from the crucified Christ to each and every human being throughout time and history.  

Fiddian Green writes of having “been given materials to use by the God of heaven and earth” – those materials of the earth that he uses in his sculptures – and says that “it is my hope that some of these pieces may rest and resonate with those who see it; that they may find a deep connection by gazing on the works which takes the eye, the heart and the soul to the One who helped me create them”.  

While Lent, Holy Week and Easter are often times when art is offered to enable us to walk in the footsteps of Christ it is not common for commercial galleries to specifically invite meditation on these events, so don’t miss the opportunity for contemplation that the Sladmore Gallery is providing through this exhibition. 

 

The Face of Christ, 10th April – 2nd May 2025, Sladmore Gallery, London.