Magyar Egyház, 2007 (86. évfolyam, 1-4. szám)
2007-10-01 / 3-4. szám
MAGYAR EGYHÁZ 7. oldal The passion story, more exactly painting the Trilogy, apparently is one of Mihály Munkácsy’s greatest spiritual accomplishments. He himself understood the significance of the Christ-event and was able to resonate this in his own being, by precipitating it into a picture-Bible in all of his creations, each being a sermon articulated via his paintbrush. He was able to compose these sermons so delightfully and truthfully, because he followed the Bible. His artistic freedom was put in this service. With the aide of this, he was able to escape the anachronisms, the overwhelming traditionalisms, exaggerations of ideologies, and generally any distortions of factual history and historical facts previously attached to paintings illustrating Christ-events. Were we to finish our commentary, many would notice and inquire about the famous, mystical and very conspicuous character of Golgotha: “the Arab horseman”. Were not for this figure in white clothing and his graceful steed, the whole painting might tip over. Consequently, there is structural harmony of the whole, and given Christ’s cross as the point of origin there are expanding circles in space and time resulting in a magnificently accomplished, monumental creation. But what is the meaning of the Arab in the picture? Why is he so prominent, why does he shine so visibly? Further, how does the horse get atop Golgotha? Jews had mostly donkeys. This complicates the solution. Munkácsy must have conducted extensive biblical research prior to envisioning and creating this work of art. He was justified in placing the “Arab horseman” there, given his artistic freedom and his desire to relate all his feelings of Easter joy alive in him through his faith. Painters of times past had similar aspirations, which they attempted to do by painting halos of light above heads of figures, even larger ones above Jesus. Halos and auras were not appropriate for Munkácsy’s era, his style, neither his biblical fidelity. He painted an “Arab horseman”. Why is that? Both the Old and the New Testament was aware of the functions and benefits of horses. Should we tally all mentions related to horses beginning with Genesis all the way to Revelations, we encounter a certain duality. On one hand horses express the might and power of the state or the king, on the other; with passage of time they acquire a symbolic meaning. In the beginning they only signify God’s omnipotence (Exodus 15:1-18), later with the prophets Joel and Zechariah the commencement of the messianic era. Horse and rider always appear together; therefore as such, it became important as a symbol in the life of Israel: the imagery of God’s ultimate victory. (Revelations 19:11; 19:21) Munkácsy must have known this, since his “Arab” stares back at his Jesus. The mounted man therefore is in a close-knit association with the suffering Christ on the cross. The painter clearly signifies with this that there is an all-encompassing event of cosmic proportions about to happen here. Something not seen, something not known by anyone is about to occur. The universe is not in the hands of mankind, its own destiny is not controlled as such, but it rests upon the might of the all victorious God and his love above all human comprehension: "For God so loved the world that he gave his one and only Son, that whoever believes in him shall not perish but have eternal life. (John 3:16) The cross, therefore, does not have the last say; this belongs to Christ who is glorious over death! Our imagination does not run wild if we presume that Munkácsy has read and understood the prophecy from Revelations regarding Christ’s eventual return. We are aware of his sketches prepared for Golgotha, which has “Arab equestrian” in parentheses. That is the reason we named him the same. Upon careful examination of this figure, he does not look Arabic whatsoever. His face rather resembles that of Jesus, riding the white horse, the emblem of victory, wearing white garments suitable for a king, his horse also wearing all the adornments. In the Bible we read it thusly: “I saw heaven standing open and there before me was a white horse, whose rider is called Faithful and True. With justice he judges and makes war. His eyes are like blazing fire, and on his head are many crowns. He has a name written on him that no one knows but he himself. He is dressed in a robe dipped in blood, and his name is the Word of God. On his robe and on his thigh he has this name written: KING OF KINGS AND LORD OF LORDS.” (Revelations 19:11-12-13, 16) This is how Mihály Munkácsy portrayed the risen Christ, triumphant over death: the rejoicing message of Easter! Reformed pastors discuss work and witness in the 21st century Thirty senior pastors from Reformed congregations in 16 countries are meeting in Geneva 17 to 20 April to explore together the role of large, influential congregations in the Reformed movement today. The theme of the meeting is "The Mission of the Presbyterian and Reformed Church Worldwide and You." It is being organized by the World Alliance of Reformed Churches (WARC) whose secretariat is located in Geneva, a city with roots in the 16th century Protestant Reformation. "I hope this is a time of spiritual renewal and new energy for you," WARC president Clifton Kirkpatrick said in welcoming the pastors. The gathering will focus on using Reformed tradition as a way to equip the church for the challenges of the 21st century, he added. "It is clear to us we need to be re-weaving our relationships in the Reformed movement," Kirkpatrick said. "We are trying in many ways to reconnect with our networks in the World Alliance of Reformed Churches." The WARC president said the larger, influential congregations have much to offer the Reformed family while the Alliance has resources that could be better utilized by these congregations. "This week is a time to begin to build community together," Kirkpatrick said. The pastors are meeting at the Ecumenical Institute at Bossey and have visited key Reformation sites in Geneva, including the Calvin Auditory, the International Museum of the Reformation and the Ecumenical Centre, which houses WARC and a number of other ecumenical bodies. They have been meeting with WARC staff; the general secretaries of the World Council of Churches and the Lutheran World Federation; and participants in the 2009 Calvin Consultation, a group sponsored by the Federation of Swiss Protestant Churches and WARC that is working on plans to celebrate the 500th birthday. Presentations have focused on the Reformation 500 years later; building stronger, effective ministries in large Reformed congregations; and on how WARC can enrich congregational ministry.
