Book of Mormon Feast
An Artistic Tour of 1 Nephi 8
1 Nephi 8:11
BOOK OF MORMON WORKED METAL
Araceli Andrade
I beheld a tree, whose fruit was desirable to make one happy. And it came to pass that I did go forth and partake of the fruit thereof; and I beheld that it was most sweet, above all that I ever before tasted. Yea, and I beheld that the fruit thereof was white, to exceed all the whiteness that I had ever seen. And as I partook of the fruit thereof it filled my soul with exceedingly great joy; wherefore, I began to be desirous that my family should partake of it also; for I knew that it was desirable above all other fruit. —1 Nephi 8:10–12
1 Nephi 8:11
BOOK OF MORMON ART
Painted bronze
1 Nephi 8:11
BOOK OF MORMON ART
Miguel Romero
Hammered copper
1 Nephi 8:11
BOOK OF MORMON ART
Kazuto Uota
This stunning artistic work by Kazuto Uota was created in 1990. It represents the Tree of Life as described in the Book of Mormon, with its fruit glowing as it displays the power of God.
This work was featured on the cover of the Ensign magazine in August, 2010, and generated much favorable response from the Ensign readers.
1 Nephi 8:11,12
BOOK OF MORMON ART
Real Heroes Poster – Steve Nethercott
Speaking of the fruit of the Tree of Life, which represents the love of God, Lehi said, “I did go forth and partake of the fruit. . . it was most sweet . . . . It filled my soul with exceedingly great joy.”
Real people – real power. Real Hero Posters strives to capture the spirit of real heroes, the uniqueness of their world, the strength of their character, and the reality of their heroism.
1 Nephi 8:12
BOOK OF MORMON ART
Marcus Vincent
Oil on linen
1 Nephi 8:12
BOOK OF MORMON ART
Xiu Wang
Chang-
Tempera on silk (170 x 68 cm).
This “mountain water” style of painting focuses on the joy of sharing the gospel with one’s family. The inscription quotes 1 Nephi 8:12
1 Nephi 8:14
BOOK OF MORMON ART
Lehi’s Vision of the Tree of Life
Tammy Garcia
Redware clay
1 Nephi 8:15
BOOK OF MORMON SCULPTURE
Sharing the Fruit of the Tree of Life
Gary Lee Price. 2000
“Other than Lehi’s awesome description of this great vision and metaphor for life, I’ve always been most impressed by his instant reaction to share the incredibly brilliant and delicious fruit with his family. Nephi tells us that his father saw a symbol for the ‘love of God’ and that it is the most desirable thing there is! What could be greater or more powerful than unconditional, eternal love? Little wonder Lehi wanted to share that with those he loved most!
“I envision the symbolic tree as one that has withstood the test of time.
A tree that despite the elements and the centuries of seasons, has not only survived,
but thrived! Its roots have sunk deep into the life-
“It is my hope an as artist that Lehi’s vision of the Tree of Life will inspire all of us to reach deeper inside ourselves and find that unquenchable source of love that nourishes and uplifts all we meet.”
1 Nephi 8:16
BOOK OF MORMON ART
Lehi’s Dream – Gary L. Kapp
Lehi’s vision of the Tree of Life is a memorable high-
Speaking of a part of them, the Book of Mormon records, “And it came to pass that they did come unto me and partake of the fruit also.”
1 Nephi 8:16
BOOK OF MORMON ART
Lehi’s Vision of the Tree of Life
Robin Luch
Stained glass
1 Nephi 8:16
BOOK OF MORMON ART
Lehi’s Vision of the Tree of Life
Robert Yellowhair, Snowflake, Arizona, United States
Oil on canvas (121 x 76 cm). 1992.
The artist uses traditional symbols to express his belief that Native Americans are
descendants of Lehi. Brother Yellowhair, a Navajo from the Zuni clan, has adapted
the essential themes of Lehi’s dream of the tree of life to a Native American setting.
A piñon tree, brilliant with light, symbolizes the tree of life; the pine cones are
the white fruit. Father Lehi is dressed as a Hopi priest because Hopis are acknowledged
among Native Americans of the Southwest as the traditional religious leaders. Sariah
is depicted as Crow Mother, the first mother of the Zuni. Nephi, on his mother’s
right, is depicted as the visionary Comanche chief, Quainapaker, from the early twentieth
century. Sam is depicted as the great peace-