Christ in Art. Ernest Renan
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Название: Christ in Art

Автор: Ernest Renan

Издательство: Parkstone International Publishing

Жанр: Религия: прочее

Серия: Temporis

isbn: 978-1-78042-877-2, 978-1-78310-780-3

isbn:

СКАЧАТЬ The previous movements belong to our subject only in so far as they serve to throw light upon these extraordinary men, who must of course have had some kind relationship with what preceded them. In such an effort to revive the lofty souls of the past, we must be permitted to some extent to divine and conjecture. A great life is an organic whole which cannot be represented by the simple agglomeration of little facts. A deep feeling must embrace the whole and form its unity. The method of art in such a subject is a good guide; the exquisite tact of a Goethe would here find full scope. The essential conditions of art creations is to form a living system of every portion which answers and demands every other. In histories of this kind, the great sign that we have attained the truth is success in combining the texts so as to constitute a logical, probable, concordant narrative. The intimate laws of life, of the advance of organic products, and of the toning down of shades, must be consulted at every step. What we have here to find is not the material circumstance that is impossible to verify, but the very soul of history. What we have to seek is not the petty certainty of the meticulous, but the justness of the general idea, the truth of the colouring. Each touch which violates the rites of classic narration should warn us to beware. The feat which we had to narrate was living, natural and harmonious. If we do not succeed in rendering it such in our narration, surely it is because we have not attained the right view of it. Suppose that in restoring the Minerva of Phidias according to the texts, an unnatural, maimed, artificial whole should be produced; what must we conclude from there? Only one thing: that the texts demand artistic interpretation, that they must be gently treated until they finally combine to produce a whole in which all the materials are happily fused. Should we be sure of having then, feature for feature, the Greek statue? No; but at least we would not have a caricature. We would have the general spirit of the work, one of the forms in which it may have existed.

      Salvator Rosa, The Resurrected Christ, date unknown.

      Oil on wood, 109 × 96 cm.

      Musée Condé, Chatilly.

      Marc Chagall, Yellow Crucifixion, 1943.

      Centre Georges-Pompidou, Paris.

      Emil Nolde, The Last Supper, 1909.

      Oil on canvas, 86 × 107 cm.

      Statens Museum for Kunst, Copenhagen.

      This sense of a living organism has not hesitated to be guided in the general structure of the narrative. The reading of the gospels is enough to show that their authors, though they had in their minds a very just plan of the life of Jesus, were not guided by very rigorous chronological data. Papias, moreover, tells us so expressly that the expressions: “In those days”, “after that”, “then”, and “it came to pass that”, etc. are simple transitions designed to connect the different stories. To leave all the materials furnished to us by the evangelists in the disorder in which tradition gives them, would no more be to write the history of Jesus than one would write the history of a celebrated man by giving promiscuously the letters and anecdotes of his youth, his old age, and his prime. The Koran, which also presents to us in fragments the different periods of the life of Mohammed, has yielded its secret to an ingenious criticism; the chronological order in which these fragments were composed, which has been discovered with approximate certainty. Such a readjustment is much more difficult for the gospel, the public life of Jesus having been shorter and less crowded with events than the life of the founder of Islam. However, the attempt to find a clue by which to guide our steps in this labyrinth, cannot be taxed with gratuitous subtlety. It is no great abuse of hypotheses to suppose that a religious founder begins by adopting the moral aphorisms which are already in circulation in his time, and the practices which are most prevalent; that, when more mature, and in possession of his full powers, he takes pleasure in a species of calm, poetic eloquence, far removed from all controversy, suave and free as pure sentiment. He gradually becomes exalted, excited by opposition, and ends in polemics and strong invective. Such are the periods which have been distinguished in the Koran. He adopted with an exquisite tact by the synoptic, supposes an analogous progress. Read Matthew attentively, and there will be and in the distribution of the discourses, a gradation strongly analogous to that which we have just indicated. There will be observed, moreover, the difference in forms of expression of which we make use when we attempt to explain the progress of the ideas of Jesus. The reader may, if he prefers, see in the divisions adopted in this regard, only the sections indispensable to the methodical exposition of a profound and complex mind.

      If the love of a subject may assist in its comprehension, it will also be recognized that this condition has not been wanting. To write the history of a religion, it is necessary, first, to have believed it; and secondly, to believe it no longer implicitly; for implicit faith is incompatible with sincere history. But love goes without faith. Because we do not attach ourselves to any of the forms that captivate human adoration, we do not renounce the enjoyment of all that is good and beautiful in them. No passing vision exhausts divinity; God was revealed before Jesus, God will be revealed after him. Widely unequal and so much the more divine, as they are the greater and the more spontaneous, the manifestations of the God concealed in the depths of the human conscience are all of the same order. Jesus cannot therefore, belong exclusively to those who call themselves his disciples. He is the honor that every man carries in his heart. His glory cannot be lost to history and his legacy and following are made more real by showing that history would be incomprehensible without him.

      Graham Sutherland, Christ in Glory in the Tetramorph (First Cartoon), 1953.

      Oil on gouache on board, 201.9 × 110.5 cm.

      Herbert Art Gallery, Coventry.

      The Young Christ

      Michelangelo Merisi da Caravaggio, The Holy Family, c. 1607.

      Oil on canvas, 117.5 × 96 cm.

      Collection Clara Otero Silva, Caracas.

      His First Impressions

      Jesus was born in Nazareth, a small town in Galilee, which before him was unknown. All his life he was designated by the name of “Nazarene,” and it is only by an awkward detour that the legend succeeds in fixing his birth at Bethlehem. We shall further on see the motive of this supposition and how it was the necessary consequence of the Messianic character attributed to Jesus. The precise date of his birth is unknown. It occurred under the reign of Augustus, towards the year 750 of Rome, probably sometime in the years before 1 C. E., when most Western peoples place his birth.

      He came from the ranks of the people. His father Joseph and his mother Mary were in moderate circumstances, artisans living by their toil, a very common condition in the East, which is neither ease nor want. The extreme simplicity of life in such countries, by removing the demand for comfort, renders the privilege of the rich almost useless and makes all voluntarily poor. The town of Nazareth, in the time of Jesus, did not, perhaps, differ much from what it is today. We see the streets in which he played when a child, in these stony paths or small squares which separate the dwellings. The house of Joseph, without a doubt, closely resembled those poor shops, lighted by the door, serving at once for the work-bench, as kitchen and as bedroom, having for furniture a mat, some cushions on the ground, one or two earthen vessels and a painted chest.

      The family, whether the product of one or more marriages, was rather numerous. Jesus had brothers and sisters, who seem to have been younger than he. All remain unknown, and it appears that the four persons who are named as his brothers, and among whom one at least, James, attained СКАЧАТЬ