Christianity has had an enormous influence on Western art throughout the past two thousand years. From early Byzantine mosaics to present art, Jesus' crucifixion has been portrayed in various artistic styles and mediums. It is important to note that a lot of these crucifixion scenes are primarily idealistic. Matthew 27:26, Mark 15:15, and John 19:1 tell us that Jesus was scourged and flogged, yet very few crucifixion depictions show Jesus with scourge marks on his body. Why is this? If a crucifixion scene is to be accurate with what the Bible teaches, then Jesus would have wounds from being beaten and scourged. Orthodox theology teaches that Jesus is both fully God and fully human, but Western art does not depict Jesus’ full humanity in crucifixion scenes. It seems that Jesus’ humanity makes us feel uncomfortable, and we want to ignore the reality of gruesome, very human death that our Lord and Savior experienced. Realistic depictions of the crucifixion make us uncomfortable and cause us to question our idea of the humanity of Jesus. This discomfort causes us to be naturally drawn towards idealistic depictions of Jesus. These depictions are seen throughout Western history, and it seems that these idealistic depictions have been presented in order to not distract us from our contemplation of our Christ’s suffering on the cross.
Unknown, Icon with the Crucifixion, ca. mid-10th century, Ivory, 17.190.44
This beautiful relief carving depicts the Christ who hangs dead on the cross. Jesus is attached to the cross in almost a contrapposto position. In reality, a dead man on a cross would be contorted and completely limp, but in this icon, Jesus still has a form and position to his body. Even though this is an ivory carving, there are no signs of the spear wound in Jesus’ side or evidence of any other flesh wounds.
Gerard David, The Crucifixion, ca. 1495, Oil on Wood, 09.157
This Netherlandish painting is a still life that also shows Jesus hanging from the cross. Mary the mother of Jesus, Mary Magdalene, and the Apostle John, who are all traditional characters in the crucifixion scene, lie at the feet of the cross in mourning. David then includes Saint Jerome in the right of the scene holding a papal ferula and Bible. Jerome seems to be involved in the scene through reading the very Scriptures that illustrate the moments of the crucifixion. While Jesus is portrayed as gaunt and bleak, there are no bruises or scourge wounds. There is only the spear and nail wounds with minimal blood trickling down his side, hands, and feet.
Marco d’Oggiono, Christ Carrying the Cross, ca. 1495-1500, Oil on Panel, Getty Museum
Instead of a frontal view of Jesus on the cross, the viewer is shown a side position of Jesus as he carries his cross up to Golgotha. This side view shows blood trickling down Jesus’ face from the crown of thorns, and we see contemplation in Jesus as he struggles to climb the hill of Calvary. However, this is still an idealistic depiction of Jesus. His hair is neatly done, there are no signs of flog wounds or bruises, and there is no sense of struggle as Jesus bears his cross.
Peter Paul Rubens, The Descent from the Cross, 1612-1616, Oil on Panel, Cathedral of Our Lady, Antwerp
This extraordinary Baroque painting is actually the center piece of a triptych in the Cathedral of Our Lady in Antwerp, Belgium. This center piece stands at roughly 14 feet tall and 11 feet wide. Instead of a still, frontal view of Jesus hanging on the cross, this painting is dramatic, has lots of movement, and possesses a diagonal view of Jesus being taken down from the cross before being buried. He is being wrapped in a white cloth as he gracefully is descended from the cross, but there is little to no blood on the cloth. Surely Jesus’ dead body would have been covered with blood right? His body is contorted in an uncomfortable position, but there still minimal wounds that show the true suffering of a crucifixion.
Eugène Delacroix, Lamentation over the Body of Christ, 1857, Oil on Canvas, The Met
This scene depicts Jesus after he is taken down from the cross, but before he is buried in the tomb. Jesus’ mother and followers surround him to cherish the final moments they have with his body. The dark background scenery sets a somber tone, and this reflects the dismay of those mourning Jesus’ death. Jesus’ dead body is still portrayed in a dramatic, idealistic position. His body is perfectly supported and not limp. His body does appear to have bruising, but there are still minimal flesh wounds across his skin.
Matthias Grünewald, Isenheim Altarpiece (closed), c. 1512-1516, Oil on Panel, Unterlinden Museum
Originally commissioned for the Monastery at St. Anthony, a hospital that cared for the sick, this altarpiece has three different tiers that can open up and show three different paintings. Jesus is covered in sores, and is contorted in pain as he’s nailed to the cross. This painting brings discomfort because we clearly see Jesus’ suffering on the cross. The crucifixion scene depicts realistic aspects of Jesus’ humanity. We see his agony, his pain, and his suffering. Even though this scene is discomforting, it allows us to connect to Jesus more deeply through our shared experience of human suffering.
No comments:
Post a Comment