Magyar Egyház, 2007 (86. évfolyam, 1-4. szám)

2007-07-01 / 1-2. szám

6. oldal

MAGYAR EGYHÁZ

reflects his inner turmoil, and does not realize what Jesus has spoken of himself: “I am the way, the truth and the life!” (John 14:6) These were his prior teachings.

As the third time-plateau Munkácsy depicts an amassed group of inquiring, nosy and raunchy people, among who are some figures deep in thought struggling with a dilemma. The two figures standing right behind Jesus or the man on the most left in blue garments are not enraged. The laterally leaning man on Jesus’ right may have been brought here by his malicious curiosity, while the one in a white shirt with both arms up in the air, wildly screaming with his entire being in favor of the charges heard, vocally opposes Pilate’s attempt to acquit Jesus, having found no guilt in him. (John 18:38b) An impatient clatter urging the sentencing is almost audible from within the dark background. One can sense this frightening rage by the posturing of the “Madonna” standing by the column. The dark abyss behind them further conveys an inexpressible callousness and hidden peril.

The fourth plane is solely Jesus. He is standing in his pleasant, white garment, majestically in the golden section of the canvas, radiating innocence, glowing of purity, as someone who cannot be smeared by the damnations of his surroundings. He is the core to whom everyone else is tied to. However, even a Sunday school pupil notices and wonders: how did Jesus get here dressed all in white? Is this grand artistic freedom on Munkacsy’s part really warranted, when we know that Jesus normally dressed just as an average Palestinian? Why did the painter portray Christ before Pilate in this fashion, when no such event ever existed? Munkácsy proves to be a brilliant theologian, - if we may use this term, - since he introduces a distinctive element. He understands what has been happening with Jesus. He not only dresses Jesus in white in order to accentuate his innocence, as is the popular belief. There is a far more solemn reason and explanation.

As a matter of fact, Jesus returns in white clothes to Pilate from his meeting with Herod. When Pilate learns from the Jews that Jesus has “instigated” in Galilee as well, jumps at the opportunity and sends him to Herod Antipas, tetrarch of Galilee. It was his jurisdiction, after all. This neurotic leader of unstable personality ordered the execution of John the Baptist, and now expects Jesus to perform some sort of miracle. Jesus does no such thing, what’s more does not even answer him. As a mockery he dresses the Messiah King in the white attire, which would be appropriate for him then, utilizing this comical custom to signal Pilate that he neither has taken the accused seriously. “That day Herod and Pilate became friends” (Luke 23:12) Dressed in this white garb, Jesus will not appear again before the accusing crowd. Therefore an event which takes place chronologically later is presented earlier. Why is that? - That is, because something very remarkable takes place oblivious to Pilate and Herod. During sacrificial ceremonies the Jewish high priest is also dressed in white (Exodus 28:39), this becoming the decree after the bondage in Babylon. (Ezekiel 44:16) The concept is that Jesus, as the high priest suffers for us, and he brings himself into the inner sanctum as the oblation. (Ezekiel 44:16) In spite of human malice and viciousness, Jesus obtains this honor as well, his clothing of mockery becoming his adornment. Munkácsy very astutely senses this.

The next issue of a shift in space and time is the location. Pilate is already seated at his judicial bench; however this takes place only at the conclusion of the political trial in preparation for the sentencing. (John 19:13) The letters SPQR on both sides next to his head represents the fact that he is indeed sitting in judgment. He is about to render a most momentous decision, since he speaks

on behalf of the Roman people and senate. In Hebrew this location is called “Gabbatha”, meaning stone-bench, but there could be reference to cobbled yard of the governor’s venue, Lithostratos in Greek, where these final events take place, - naturally included a judge’s bench. (John 19:13) Munkácsy finds a skillful solution to capture this.

Given this locale, which scene of the great drama are we most likely to envision? It seems to me that, by importing the later scene here, with the seated Pilate, was meant to underscore the gravity of these vital proceedings. Pilate is perplexed and sums up the events thusly:” Here is your king” (John 19:14) He deduces this in front of the reconvened Jews and members of the grand council. He identifies the person to be convicted, thereby clarifying his position in correlation with the emperor’s distrust. Prior to this someone shouted: “If you let this one free, you are not the emperor’s friend!” This crushed the governor, and a frightening prospect overwhelmed him: What if based on Caiaphas’ reporting, the emperor withdraws his friendship. This meant a complete loss of one’s carrier and isolation within the empire, as was the case in 26 A.D. with Caius Cornelius Gallus, the prefect in charge of Egypt, who chose suicide over dishonor. At this juncture the political trial has come to an impasse. Pilate has publicly declared three times thus far that: “I have found in him no grounds for the death penalty.” (Luke 23:22), therefore his conscience would dictate Jesus’ release; however that might jeopardize the fate of this friend of the emperor. Furthermore, incidentally the Jews themselves expose him to the crudest form of political blackmail: “We have no king but Caesar!” (John 19:15) This shuts down Pilate’s any possible escape route, since this declaration comes from the priestly principal, who otherwise despises Rome. Lastly, Pilate declares by words and, by washing his hands, in action, his blamelessness, signaling that he proceeds against his convictions when he allows Jesus’ crucifixion, as craved by the Jews. To further pursue this and to completely disperse Pilate’s any and all doubts, the Jews help his decision by claiming for themselves the horrendous curse by chanting the stanzas: “Let his blood be on us and on our children!" (Matthew 27:25) They are so determined that they assume full responsibility for the consequences of the execution. The terms ’’blood on” “let his blood be upon” or “his blood upon his head” originate from the legal terminology of the Old Testament (the majority can be found in Leviticus chapter 20). This expression is used to establish the guilt of the person sentenced to death, as well as the executors lack thereof. The Jews are so convinced about Jesus’ culpability, that they offer even their offspring’s penance. For this reason Jesus addresses the sobbing women he encounters on the way to Golgotha: “Daughters of Jerusalem, do not weep for me; weep for yourselves and for your children.” (Luke 23:28)

Pilate no longer agonizes in doubt; we can turn our attention away from him, because the case has been decided. The story does not end here, nor does the viewer have the sense that things have been resolved fully, that the momentous struggle between reason and conscience ended, because there is an open, eternally burning question left in the gaze of the mother holding her child by the pillar: what will ensue with Israel and its children? This is the sixth timeframe, placed by Munkácsy in the absolute, the geometrical, center of the painting, cautioning us from a distant future, that the present should be lived responsibly with wholesome deeds, thoughts and spirituality.

... Will continue in the next issue: „Ecce Homo"and „Golgotha”