Várhelyi Ilona: Bibliával Munkácsy Krisztus-trilógiája előtt (Debrecen, 2009)
Abstract
Within the picture's Renaissance-influenced perspective and the contrapuntal symmetry of colours, the structure is kept in balance by the white colour, which expresses an at least threefold compositional tension. The most conspicuous is the central conflict between Jesus and Pilate, but it is between the Jewish leaders and Jesus that the real tension exists. This system of relationships, charged with intense emotions, expresses the religious and political duality of Jesus' trial. The focal point of all the tension is the tied hands of Jesus, who is standing in the middle with gentle self-confidence. What we witness during the contemplation of the picture is not only a show-trial but also an eternal question of principle calling for a personal decision, determining our relationships to power, freedom and our own principles. Jesus, aware of his justice, is free even if under arrest, whereas those who pass a verdict upon him are imprisoned by their own interests. The compositional and symbolic functions of the white colour are reinforced by the fact that only Jesus' clothes - in the middle of the picture - are absolutely white. The red stripe along the hem of Pilate's Roman garment is indicative of his rank, whereas the clothes of the man standing out from the crowd because of his loudness are only half white. Jesus' entirely white garment conveys several meanings. First of all, it makes us think of his innocence with the connotation of the "sacrificial lamb". That is how Munkácsy leads our thoughts to the garden of Gethsemane, where sacrificial animals were kept until they were slaughtered. Besides, the symbol foreshadows the crucifixion of the Passover lamb with none of its bones broken. Although Munkácsy's Jesus is standing there in such a way as he is depicted by John's Gospel; as the Son glorifying his Father with his righteousness and obedience, in Luke's Gospel there is yet another explanation as to the origin of the white dress. 2 By this reference Munkácsy also evokes the preceding events of the story. He even reaches back to the Old Testament, since the tunic of high priests was to be white (Exodus, 28: 39). Now, at this "pagan" location it is Jesus and not the Jewish high priest Caiaphas who is wearing the priestly garments. With the colour of Jesus' clothes and his implied words - "My kingdom is from another place" — Munkácsy must have intended to take a stand on what the Epistle to the Hebrews teaches about the superiority of New Testament high priesthood: Christ is "the high priest of good things to come", who enters a sanctuary that is not man-made, and offers to God the sacrifice of his own blood instead of the sacrifice of animals (see Ezekiel 44:16) in order to do away with sin and "bring salvation to those who are waiting for him" (Hebrews 9 — 10). Thus Herod, unaware and unintentionally, dressed the eternal High Priest, who sacrificed himself as the perfect sacrifice not in the Temple of Jerusalem but "in spirit and truth" (John 4:23). By interpreting the passages of the Bible, Munkácsy reached ever greater depths in his understanding of human relationships and realised Jesus' uniqueness in the history of salvation. 2 Luke: 23, 6 - 12. Because Jesus was from Galilee, Pilate sent him to Herod Antipas, who was staying in Jerusalem. After questioning him in vain,"Herod and his soldiers ridiculed and mocked him. Dressing him in an elegant robe, they sent him back to Pilate."
