JESUS VISITS MARY AND MARTHA

Here is William’s photograph of the story of Jesus visiting the home of his friends, Mary and Martha. It is the 5th picture in this “It’s in the Book” series depicting bible scenes in a modern context.

Luke 10:38-42

Now as they went on their way, he entered a certain village, where a woman named Martha welcomed him into her home. She had a sister named Mary, who sat at the Lord’s feet and listened to what he was saying. But Martha was distracted by her many tasks; so she came to him and asked, “Lord, do you not care that my sister has left me to do all the work by myself? Tell her then to help me.” But the Lord answered her, “Martha, Martha, you are worried and distracted by many things; there is need of only one thing. Mary has chosen the better part, which will not be taken away from her.”

At this point in his ministry, Jesus traveled with an entourage of disciples and other followers. It is likely that when he arrived at the home of Mary and Martha, there was a veritable mob with him. Hospitality in the ancient world was paramount, which explains Martha's push to get everyone fed. Yet Jesus ends up lauding not the busy sister, but the one who went against the cultural expectations in order to follow Christ and really learn from him.

This scene has been widely depicted in art. The following are examples.

Tintoretto, the great Renaissance painter completed this painting in 1575. This is one of the few examples where the artist includes characters other than Jesus, Mary and Martha. Though we know there must have been other people present, many artists simplify the scene down to the principle players in order to have greater visual impact. Here, Tintoretto diminished the importance of these other characters by placing them in the background. Both Mary and Martha wear finery which is much more from the time of Tintoretto than of biblical times. He has done so to place them in his own context. Martha points to her sister with an accusatory finger. Yet Jesus’ focus is on Mary, thus showing how she has chosen the better part. Visually, our eyes are drawn to Mary since both Jesus and Martha put their attention on her. This is to show that she is the one from whom we can learn a valuable spiritual lesson.

This painting by Vincenzo Campi is called “Christ in the house of Mary and Martha” and yet we must search to even find the tiny Jesus and Mary in the upper left hand corner. It is a humorous portrayal of the scene because Martha is surrounded by a ridiculous amount of meat. Clearly, she was busy with many things. For her, there is only work—almost no presence of Christ. Perhaps that’s what the artist is helping us to understand by making Mary and her overwhelming mounds of meat so prevalent. The point is that when we get caught up with busy work, we cannot be aware to the presence of Christ with us and, tragically, we the important message.

This 17th century painting by Fleming Erasmus Quellinus shows an enlightened Mary (symbolized by her well-lit face and golden yellow clothing) listening intently to Jesus. Martha is further from Christ as she prepares food. This distance is also symbolic, showing how her work keeps her heart further from Christ than her sister’s. We only see her back side—the artist does this to show how unimportant she is. Only Mary is worthy of our full attention.

This painting from 1628 is by Peter Paul Reubens. Here Mary and Martha sit outside their home. The landscape is not that of the ancient Middle East but instead, a very European setting. This was Reubens’ way of placing the scene in his context. Martha points at her sister with disdain. Jesus points at her too, because he is explaining how her choice was better. The heads of these three figures form a line taking our eye from left to right, as well as from the top to the bottom. In the end, our focus is upon Mary who sits humbly in her golden yellow dress at the feet of Jesus. Again, the artist wants us to focus upon this character.

Vermeer completed this painting around 1655. As with many others, the characters are limited to Jesus, Mary and Martha. In Vermeer’s version, the Martha character is less angry. She looks more tired and weary—her hands cumbered by a tray of food. Her expression makes it look like she is begging Jesus for help. And he does give her help by pointing out Mary to her. This humble woman sitting at his feet has chosen the better part.

Maurice Denis painted this Mary and Martha scene in1896. Not only has he simplified the scene by eliminating the extraneous characters, he has also eliminated their faces—allowing their costumes and body language to convey the story. Christ and Mary are dressed in white to show their spiritual enlightenment. Meanwhile, Martha stands further away with her signature tray of food. She is dressed in black to show her understanding of Christ and his message are still in the dark. By painting Christ and Mary without unique faces, it also gives the viewer a sense of how the two of them are at one because she has allowed herself to truly learn from the master.

This painting comes from an African artists consortium called Jesus Mafa. The artist has enculturated the scene by setting it in an African village with African characters. Martha’s spiritual distance from Jesus is demonstrated by her physical distance from him. Mary sits close because she understands him. Because Jesus’ back is to us, it seems that Mary becomes the most important figure in the painting.

After careful consideration, we decided to shoot his photograph of the story from the ceiling as a symbolic way of representing God's perspective of the story. Mary sits down at the table with Jesus and learns from him. She is also dressed in white, to show her connection with Jesus. Her eyes are opened to spiritual revelation. She looks up to God with her hands gesturing in excited animation. This gives her a much more active role than she is normally given in works of art based upon this story.

Meanwhile, Martha points an angry finger. Her focus is not on God, as Mary's is. Instead, she is busy with her serving and wants to convince Jesus to make her sister help. She is smaller than the other characters because she's further from the camera. This is to symbolize he she has diminished herself with her petty concerns. Yet Jesus does not even seem to acknowledge Martha's complaint. He is, instead, focused upon Mary.

Both characters, therefore, point to Mary. She has taken the central role in the work and is therefore what we want the viewer to notice. Mary—in her active, Christ-centered faith—is the person with whom we can connect.

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THE NATIVITY

This is William's version of the Nativity in his "It's in the Book" project. Click to enlarge.

Luke 2:1-7

In those days a decree went out from Emperor Augustus that all the world should be registered. This was the first registration and was taken while Quirinius was governor of Syria. All went to their own towns to be registered. Joseph also went from the town of Nazareth in Galilee to Judea, to the city of David called Bethlehem, because he was descended from the house and family of David. He went to be registered with Mary, to whom he was engaged and who was expecting a child. While they were there, the time came for her to deliver her child. And she gave birth to her firstborn son and wrapped him in bands of cloth, and laid him in a manger, because there was no place for them in the inn.

This scene has been depicted in countless works of art. Here are some examples through history.

This painting from 1400 was done by an unknown Austrian artist. It represents the Nativity according to an apocryphal story of the Gospel in which midwives are helping Mary to attend to the newborn infant. The bath they are giving the baby puts an emphasis on the human nature of Jesus and alludes to his baptism. Joseph is seated in the background looking either deep in thought or daunted by his new role as the father of this holy child. The ox and the ass at the manger cover the hay with a small kerchief to prepare it for the baby.

Bartolomeo painted this circular piece in 1499. Here, the holy family is in the midst of ruins and the chubby Jesus reclines on a sack and reaches up to bless his parents. Mary and Joseph kneel in worship of their baby, thus emphasizing the divinity of the Christ child.

This picture from 1484-90 is attributed to Geertgen and was, perhaps, part of an altarpiece. Mary is the central figure as she looks down upon her small, glowing child in the manger. Teeny angels gather around him in worship as the animals from the stable gaze in quiet adoration. Joseph lingers way back in the shadows showing his theological insignificance to the artist. This painting is most clearly about the divinity of Jesus.

This 15th century work by the Master of Avila Nativity features a bevy of miniature angels decking the roof of the stable. Mary has unusually long, stylish hair but what is most striking about this painting is that Jesus is not only glowing, but doing the levitation trick while Joseph and a random saint look on. Again, this is a work about the astonishing, supernatural, God-infused nature of the child.

This 15th century painting by Riches Heures shows a golden shaft of light connecting Jesus with God the Father seated above. A dove flies through the rays to symbolize the Holy Spirit. Together, they depict the divine mystery of the Trinity.

Barocci painted this piece 1597. Again, we see Joseph in the shadows and Mary taking center stage. The child radiates with such brilliance that it illuminates his mother and, indeed, the entire barn.

Raffaello work from 1507 shows Christ riding on a lamb while Mary supervises and the elderly Joseph presides over the family. This symbolizes how Jesus was no ordinary child—he born to be the Lamb of God.

Badalocchio’s painting from 1610 shows an intimate scene of the holy family lounging. The Virgin rests against a wall, cradling the infant Christ, while the old man Joseph keeps watch. It is subtle, but you can see the the child emits light, showing his Godly nature.

This beautiful painting by Rembrandt is from 1645. It shows the happy family life of Jesus and his parents. Mary gently rocks the baby to sleep while reading him a bed time story. Joseph does his carpentry work in the background. It would look like any other domestic scene except for the fact that baby angels bathed in light are aparently sky diving into the room. They invade this humble home to adore the child who is both human and divine.

Salvador Dali completed this Nativity in 1967. With extreme minimalism Dali shows us how Joseph stands upright as guardian of the family. Mary—in her traditional blue—kneels to adore the baby who holds a little cross to foreshadow his inevitable death. All three figures have hallows. Brilliant yellow steams down from heaven to show the glory of God which fills the scene.

With so many versions of the Nativity, it made shooting a unique, modern day version of it a great challenge. We decided to place the family in a simple hotel room and put the baby Jesus in a portable crib instead of a manger. Mary wears her traditional colors of red, blue and white and the lilies in the foreground symbolize her purity. Both parents peer excitedly into the crib just as any new parents would. This is to show that the child is truly human—vulnerable and small with the need for a mother and father to raise him.

Yet their child is no ordinary child—he is the eternal Word of God become flesh, the light which cannot be overcome. To show this visually, William filled the crib with such intense light that no child is actually visible. This demonstrates his divine nature. Even at his birth, Jesus is truly God.

The ultimate goal of this photograph is to reflect the mystery of the incarnation in a new way for our context.

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THE ANOINTING OF JESUS

This is William's depiction of the Anointing of Jesus in his "It's in the Book" project. This is the scene in which an unnamed woman anoints Jesus feet and dries them with her hair.

Luke 7:37-38

And a woman in the city, who was a sinner, having learned that he was eating in the Pharisee’s house, brought an alabaster jar of ointment. She stood behind him at his feet, weeping, and began to bathe his feet with her tears and to dry them with her hair. Then she continued kissing his feet and anointing them with the ointment.

Here are some examples of art works depicting this scene.

This painting by Dirk Bouts from the 1440s shows the entire scene at the house of Simon the Pharisee. It portrays the event quite literally as the woman is standing at Jesus’ feet rather than kneeling, as would be a more obvious way for her to anoint his feet. You can clearly see the condemnation of Simon (the only one wearing shoes) as he cranes his neck to look with astonished disapproval at her. He seems to be central figure of the painting, theologically pointing out the hypocrisy of those who choose to cast judgement rather than seeing their own need for forgiveness. In typical Jesus style, he looks with compassion upon the woman and offers a benediction hand symbolizing the forgivenss he is bestowing upon her. The arrangement of the figures at a laid table recalls two other themes from the life of Christ, the Last Supper and the Miracle at Emmaus, incidents which were frequently represented in painting.

This etching by Jeremy Taylor (1613-1667) shows a more desperate woman who plays yet more prominently in the scene by her place in the foreground. She appears to have crawled to Jesus in her attempt to gain forgiveness. It gives us an evocative portrait of repentance. The disapproving Simon points down at her yet does not look at her or break his stoic facial expression as if to say the woman is not worthy of even showing disgust.

This is 20th century icon used as an object to inspire deeper worship. Our attention is most obviously drawn to the woman with her bright red outfit and her place in the foreground. Jesus looks approvingly despite the others' disapproval. Here again, we have a painting to inspire repentance.

This contemporary Asian work by Frank Wesley gives us a close up, intimate view of the woman's face, her tears and Jesus' foot. This is actually a painting of John's version of this story in which it takes place at Bethany and the woman weeps on Jesus' feet. Wesley, an Indian artist, has contexualized this scene by depicting the woman in a traditional Japanese manner. By giving us such a close view, we can relate more with the tearful woman, who in John's gospel is named as Mary.

This is a drawing by Vallotton Annie Vallotton from the Good News bible of 1976. In this simple line drawing, we see the major action of the scene with Jesus' sandal removed, the oil spilling all over and her long hair flowing recklessly. You can sense by her gesture how anguished she is. Contemplating it can give us a sense of our own need for God's grace in Jesus.

For William's version of this scene, we decided to isolate the characters to just Jesus and the woman and thereby focus on the repentance and forgiveness rather than the judgement of Simon and the other Pharisees. We placed them in a home, which is where the scene takes place. Jesus—wearing the traditional colors of blue and white—reclines comfortably in a red chair (another traditional color for Jesus). He looks upon the woman with tranquility and kindness.

The woman crouches at his feet with her long hair flowing over his foot. To contemporize it, she uses an electric foot bath instead of ointment. The point of view is down low—right at her level. This is to help the viewer relate with her and sense their own need for coming to Jesus with humility and trust, believing that he longs to bestow forgives upon us.

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THE ADORATION OF THE MAGI

This is William's depiction of the Adoration of the Magi in his "It's in the Book" project. This is the scene in which the wise men from the East come to adore the Christ child and offer him gifts.

Matthew 2:1-12

In the time of King Herod, after Jesus was born in Bethlehem of Judea, wise men from the East came to Jerusalem, asking, “Where is the child who has been born king of the Jews? For we observed his star at its rising, and have come to pay him homage.” When King Herod heard this, he was frightened, and all Jerusalem with him; and calling together all the chief priests and scribes of the people, he inquired of them where the Messiah was to be born. They told him, “In Bethlehem of Judea; for so it has been written by the prophet: ‘And you, Bethlehem, in the land of Judah, are by no means least among the rulers of Judah; for from you shall come a ruler who is to shepherd my people Israel.’” Then Herod secretly called for the wise men and learned from them the exact time when the star had appeared. Then he sent them to Bethlehem, saying, “Go and search diligently for the child; and when you have found him, bring me word so that I may also go and pay him homage.”

When they had heard the king, they set out; and there, ahead of them, went the star that they had seen at its rising, until it stopped over the place where the child was. When they saw that the star had stopped, they were overwhelmed with joy. On entering the house, they saw the child with Mary his mother; and they knelt down and paid him homage. Then, opening their treasure chests, they offered him gifts of gold, frankincense, and myrrh. And having been warned in a dream not to return to Herod, they left for their own country by another road.

This scene is widely depicted in art. Here are some examples.

This painting by Gerard David is from 1490-95. Mary and Joseph on the right look very calm and worshipful. Jesus is intentionally out of proportion for a baby. Though he’s the size of an infant, he sits up like he is a man—a miniature king enthroned upon his mother’s lap. He beckons to his brightly clad admirers who kneel down before him and offer their gifts like he is a true monarch while angels dangle about above the scene, demonstrating God's presence. The intention of this painting is to help us recognize Jesus’ unique status of king from his birth.

While many painters show the entire scene, Quentin Massys gives us an intimate, almost claustrophobic close-up of the adoration of the magi in this oil on wood painting from 1526. Mary holds the Christ child with great composure, refusing to show any emotion as if her role as mother of the savior makes too important to emote while a more baby-like Jesus eagerly greets his guests. The exotic neckpieces and clothing worn by the three magi, and their vessels inlaid with precious stone and decorated with gold filigree are reminiscent of the finely wrought goldsmith work produced in Antwerp in the sixteenth century. Thus, Massys was placing the scene in his own time and place. What is also unique about this work is that the magi have dramatic facial expressions and hand gestures. Contemplating their physiognomy can be deeply moving and inspire us to greater worship of Christ.

This painting entitled “Adoration of the Kings” from 1612 was painted by Maino. He gives us an epic vision of the entire scene complete with the star that guided the magi. Mary placidly holds a toddler-sized Jesus while Joseph looks off as if distracted. The magi gather around the child and offer their gifts. Their over-the-top costumes give us a heighten sense of their foreign flair. When meditating upon this work, we are aware that Jesus is the lord of all nations.

Abraham Bloemaert’s Adoration of the Magi (1624) again shows us magi in great finery. The one in the front bows down before the child who seems mature enough to reach his hand out to graciously receive him. Joseph peers timidly at them from the shadows. As with many paintings of this scene, the emphasis is primarily on the mother and child.

Peter Paul Rubens’ Adoration of the Magi from 1634 depicts Mary not as a peasant girl, but as a sumptuously dressed queen offering her little prince. The painting has the luscious colors Rubens was noted for, particularly gold and red. This work speaks of triumph and heralds Jesus as the prince of heaven, causing all to fall at his feet while chubby cherubs rightly dance with delight.

Contemporary Chinese painter, He Qi created this colorful painting. His unique style employs the traditional stylization of Chinese art—thus contexualizing the scenes for his own culture. The standing magi in this painting bends over in such an exaggerated fashion that it nearly makes our backs hurt just looking at him. It suggests deep adoration and humility before the Christ. Like the other works on this narrative, it evokes a sense of worship.

William decided that rather than focusing upon the mother and child, as is so common for works of art about this story, he would draw the attention to the facial expressions of the magi. Thus, he put the camera inside a portable crib to give the viewer the sense that he or she is looking up at the magi from the baby's point of view. It visually puts you into Jesus' shoes.

He then positioned the magi around the crib with traditional Christmas gifts in their hands in order to make the connection between the gifts the magi offered and the traditional gift giving we do at Christmas time. They magi are dressed up like well-to-do men. They wear hats reminiscent of crowns worn by many of the magi in other paintings. The white tie of the magi in the middle points down to the Christ child.

Their various facial expressions are striking. You really get the sense that they are looking happily into the face of a baby. Yet the magi on the right has a quizzical look. He may be simply amazed but it seems he's a bit distraught to witness this awesome mystery first-hand. The God of the Universe made flesh in a vulnerable child is indeed shocking.

We hope that by spending some time with this photograph, you will be inspired to respond to the Christ child similarly and to offer your gifts of time, talent and treasure to the service of this one who has come to make us whole.

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THE ANNUNCIATION

Above is the first photograph William created for his "It's in the Book" project: The Annunciation. This is the dramatic scene in which the angel Gabriel announces to the Virgin Mary that she will bear the Savior of the world. It is one of the most artistically portrayed stories in all of scripture.

Luke 1:26-38

In the sixth month the angel Gabriel was sent by God to a town in Galilee called Nazareth, to a virgin engaged to a man whose name was Joseph, of the house of David. The virgin’s name was Mary. And he came to her and said, “Greetings, favored one! The Lord is with you.” But she was much perplexed by his words and pondered what sort of greeting this might be. The angel said to her, “Do not be afraid, Mary, for you have found favor with God. And now, you will conceive in your womb and bear a son, and you will name him Jesus. He will be great, and will be called the Son of the Most High, and the Lord God will give to him the throne of his ancestor David. He will reign over the house of Jacob forever, and of his kingdom there will be no end.” Mary said to the angel, “How can this be, since I am a virgin?” The angel said to her, “The Holy Spirit will come upon you, and the power of the Most High will overshadow you; therefore the child to be born will be holy; he will be called Son of God.And now, your relative Elizabeth in her old age has also conceived a son; and this is the sixth month for her who was said to be barren. For nothing will be impossible with God.” Then Mary said, “Here am I, the servant of the Lord; let it be with me according to your word.” Then the angel departed from her.

This is the ultimate example of the ordinary becoming extraordinary—a young woman from an obscure town is visited by God's messenger. She is about to go from being a nobody to one of the most beloved figures in history. It demonstrates the nothing-is-impossible nature of God and how it can transform even the lowliest of people.

Here are some examples of historical works of art based on the story of the Annunciation.

The above piece was painted by Botticelli in 1489-90 for a funeral chapel in Florence, Italy. The angel is kneeling before Mary, as she is the favored one chosen by God. Yet he is a strange, other-worldly force appearing to her in her home to ask something monumental of her. You can almost get the sense that he is not kneeling as much as he is crouching to prepare himself to pounce upon her with divine power. Mary, in turn, is responding to his formidable force. She submits to God's will and this is shown by her tranquil pose. Yet her arms look rather defensive. She seems quite aware that what she has agreed to is a shocking undertaking for anyone, let alone a young girl from Nazareth. Carefully contemplating this painting can allow us to enter into the drama. We can see ourselves in the role of Mary and sense our own desire to follow God's will for our lives accompanied by a fear of just what that might entail.

This Annunciation is by El Greco painted in 1570-75. Again, the angel appears to be a formidable force. This time, this is represented by the fact that the angel is higher than Mary in the picture plane. He is, in fact, floating. In addition, he is accompanied by a trio of fat cherubs and the Holy Spirit in the form of a dove. Clearly a divine, even supernatural event is occurring. Mary is dumbfounded. She gestures to herself like she cannot believe she is the one who has been chosen. While she looks submissive to the angel, El Greco does not give her a happy or excited facial expression. Meditating upon this painting can help us understand our own inability to believe God is calling us as well as a real concern about what is in store for us.

This painting is by Tintoretto from 1582. Like El Greco's painting, the angel Gabriel shows up with little cherubs. This time, however, there is a formidable gang of them, breaking into Mary's home. And the flailing, flying Gabriel and his guys are all above the poor girl—way above her—and they are all beaming down the power of the Spirit, as evidenced by the glowing dove. Mary embodies the look of being overwhelmed. She is sitting but she almost seems like she's been laid out, utterly riveted by this visitation. Perhaps she has already been overshadowed by the power of the most high. Studying this painting gives us a sense that when God shows up, you don't even have much choice. It is so powerful that you become overtaken and you simply must obey.

In this Annunciation by contemporary painter, John Collier, we see a modern rendition of the scene. Gabriel is showing up at Mary's home in the suburbs and speaking to this little school girl. The lily is a historical symbol for Mary, which represents her purity (the angel holds a lily in Botticelli's painting). The impression we get from this work is that Mary was a young, vulnerable girl when the task of becoming the mother of Jesus was placed before her. We often think of Mary in mythological terms but this helps us remember that she was probably a young woman of just 15 or 16 years when this occurred.

To view more examples of art works depicting the annunciation, there is a great on-line resource called Art-Bible.

For William's photograph, we decided above all, we wanted to show the emotional response on Mary's face. That's why we didn't even show you the face of the angel. Yet he dominates most of the picture plane—demonstrating his overwhelming power. He is not as aggressive as some of the other angels we've looked at. Instead, he's leaning casually against the counter top in the foreground as if to show that his power is so immense that he doesn't have to hard sell Mary—he simply shows up and that's enough to convince her.

In art, the Virgin Mary has a traditional color scheme of red with a blue overcoat and white in her hair. The white symbolizes her tranquility and purity, the red represents her passion, and the blue is of Byzantine origin and was the color worn by an empress, thus showing Mary's royalty—she is the queen of heaven. Our Mary wore a typical teenager's outfit that had these colors.

What we like about Mary's expression in this is that she is smiling enthusiastically as if to say "Yes, I'll take that mission," and yet there is a look of uncertainty in her eyes. She seems to know that she is getting herself in deep. Still, she submits to the angel's request.

We hope that contemplating this photograph will help you deal with your own awkwardness, your own insecurity about the demands God is making of you. Yet, you'll respond it faith with a smile, trusting like Mary, that whatever is in store for you will be wonderful.

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IT'S IN THE BOOK

I am embarking upon a new artistic venture of creating photographs of biblical stories. We’ve entitled this series “It’s in the Book” and have opened an on-line gallery for the photographs at The Gentry Joint.

Biblical stories are both captivating and mysterious. The interplay between God and humans is a story that never grows dim. The bible is filled with the drama of human emotion. To really benefit from the transcendence of these narratives, we must connect with their timeless emotion and enter into the stories ourselves. We can learn to see ourselves as an integral part of the drama.

Artists have been helping us to do this for centuries by creatively visualizing the biblical narratives and creating works to share their vision. Many of them contexualized the scenes by having the characters portrayed by local people in modern clothing. Though the models don’t necessarily look like people of the ancient Middle East, they were able capture something of the raw emotional truth in them and thereby evoke powerful responses from their viewers.

With the medium of photography I, too, am attempting my hand at constructing biblical scenes with a modern approach. Using local people, I am setting individuals down into extraordinary stories. The goal is to enable both subject and viewer to draw a fresh perspective on the meaning and impact these stories have for our world today.

When we read scripture, the ancient context may make it seem removed—having little to do with us. Yet by undertaking this project, I hope to stir emotion that will be revelatory. These characters from long ago are not so different from us as they attempted to respond to the divine in their own, human way. When we see them photographed in an everyday context, we can resonate with them and learn how their ordinary lives became extraordinary through faith.

Even in the early stages of this endeavor, I can see the project is already having an impact on those who participate in the work. They rise to inhabit the objectives of the narrative. Each subject draws upon their personal experience as a means to understand the challenges faced by a biblical personality. For a brief moment they are granted a firsthand glimpse into the life of a saint, prophet, king or peasant. It’s role-playing with a spiritual dimension.

As new scenes are created, Laura and I will continue with the blog coverage, teaching the viewers about the works and sharing a bit of our approach to each scene. I hope you will enjoy sharing in the process as much as we do. It is challenging but the rewards may be immeasurable.

- William Gentry

Blog posts of photos in this series:

The Annunciation

Adoration of the Magi

The Anointing of Jesus

The Nativity

Jesus Visits Mary and Martha

The Visitation

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