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

2007-10-01 / 3-4. szám

MAGYAR EGYHÁZ

5. oldal

inhumane faith” are lined up for battle against one another and Jesus is caught in the middle. Neither party understands the other’s thought process, neither respects the other’s emotional universe, representing fire and water for one another. With respect to Jesus’ existence this will get solved at a higher relational level, through his death. Here we approach the veracity of the statement, which redefines our convictions of faith: “Look, the Lamb of God, who takes away the sin of the world!” (John 1:29)

If we see Jesus’ figure as Munkácsy intended it, we can almost sense a realization of the words in the 22nd Psalm, so often quoted by him also: “But I am a worm and not a man, scorned by men and despised by the people. AH who see me mock me; they hurl insults, shaking their heads” The seed of grain starts its decay - as per the very expressive image of the apostle Paul, - just so it springs a new life. (1 Corinthians chapter 15)

Jesus in Munkácsy’s painting is captured gazing upwards, with his spiritual and physical eyes searching the Father. He does not speak anymore, because this is a struggle between irreconcilable human factors. Two words collide, and God’s “suffering servant” (Isaiah 53) falls victim to this demonic fight. Why is that? Because from a human perspective there is no solution, such a battle has no earthly victor, but trough the grace of the Father, there will be a resolution in a manner “which transcends all understanding” (Philippians 4:7; 1 Corinthians 2:9), and it is only Christ who is able to see this: “However, as it is written: "No eye has seen, no ear has heard, no mind has conceived

what God has prepared for those who love him" (Isaiah 64:4; 1 Corinthians 2:9).

From this point on, there is a straight path to Golgotha. Pilate’s behavior has captivated human intellect and the depths of its spirit. Munkácsy must have been deeply touched also. “Behold the man!” - is being uttered about a man without blemish. Legally he clears Jesus: he is innocent. But is afraid of the accusers, and as a politician he takes this into account. He orders the flogging of someone found without sin. He knows what is good yet he does what is evil. (Romans 7) Finally Pilate is afraid to take a stand for what is legally just and also what his own conscience would dictate. He does not dare say no, when that would be the appropriate thing to do. Therein lays that renowned “Ecce homo!" question directed to the human scruples. This gives rise to great many consequences; perhaps this was on Munkácsy’s mind when he painted this deeply human dilemma. Doesn’t Munkácsy’s Ecce homo remind us that, indeed, “such is man'\

Golgotha - 1884

The word means scull in Aramaic, in Latin calvaria - Calvary corresponds to it. Golgotha was the name of the skullshaped hill just outside of Jerusalem, where others have been also crucified. Munkácsy’s painting presents the barbaric act of the crucifixion completed; yet Jesus is still alive. His agonizing gaze is directed towards the heavens. He lived approximately three hours after being crucified, and we are spectators about one half or one hour after the event. It is evident that the artist used his vast imagination and artistic freedom in composing the scene, planting occurrences on the canvas, which will transpire later in time, but is essentially connected with the story taking place on Good Friday. Let’s consider them one by one.

A summary of the demonstrative importance of Jesus’ crucifixion will result in a better understanding of the events. Slaves have been crucified, and in this instance they intend to

ridicule this fake king trough the death befitting a slave. Secondly, this form of an execution is suitable for the insurgent as well, making the Jew’s loyalty to the emperor evidently clear for anyone to see. Thirdly, the false prophet had to suffer this accursed death, due to those committing blasphemy, so the accusers may demonstrate before God their devotion to the Torah. Except for a few of Jesus’ followers, this is the general perception of the multitude observing this Christ-event. (Let’s make note of the only outdated item on the painting: the INRI inscription, which has become popular in the Latin era only centuries later. This is the abbreviation of Iesus Nazarenus Rex Iudaeorum. It has been ordered fastened by Pilate in Hebrew, Greek and Latin. Luke 23:38; John 19:20)

The gospels have saved seven sentences spoken by Jesus on the cross. Matthew and Mark the same one, Luke and John three each. (Matthew 27:46; Mark 15:34; Luke 23:34, 43, 46; John 19:26, 28, 30) Jesus recited these and perhaps the entire 22nd Psalm in fragments during his three-hour long passion. Psalm 22 is the so-called Messiah-Psalm.

Suddenly, this man vilely punished by a death deserved only by slaves, rebels and false prophets, begins to speak and prays for his enemies: “Father, forgive them, for they do not know what they are doing” (Luke 23:34) According to the presumptions of New Testament scholars, he must have cited the verses of the 22nd Psalm more frequently, at least while his physical strength and consciousness lasted, and with these actions he probably astonished all those present. He elicits a variety of reactions in us also, and Munkácsy used his fantastic brush in an attempt to capture this rapport with Christ. It is striking that the cross is on the right side of the picture, yet it still constitutes the “center” since it defines everything else. Munkácsy aligns the characters in relationship to the cross in three increasingly larger circles. We will follow this structure.

The cross is surrounded by a group of four: the younger man in red is the disciple John, then Jesus’ mother, who falls onto her son’s feet, on her left Mary Magdalene cries covering her face, while the third female character cannot be identified with certainty. Based on biblical description a few could come to mind, therefore in my view Munkácsy painted her as a representative of Jesus’ female followers. Her open arms, her worrisome and sad eyes and her beautiful face all suggest the possibility of a generic example of an adoring Jesus devotee. The man in the blue clothes, with his ladder and tools, occupies a fairly central position, as he looks down on the crying women, sort of saying: why are you weeping over this crook. His face shows that this is but one of many similar experiences he had. He is not the executioner, but given his covered head, as was customary for Jewish men, he is the tradesman in charge of crafting the crosses for the executions.- In all probability the Romans hired the locals for these tasks. It was the Roman military detail that carried out Jesus’ crucifixion.- Behind the ladder of this man in blue, a strong Roman soldier is holding back the smaller crowd, putting his spear to good use. Above the ladder there is a Roman officer with his straight arm, perhaps the one asking Jesus this rude question, given his position of authority: “If you are the king of the Jews, save yourself.” (Luke 23:37) His hand gesture shows that he is saying something. Out of the carefully designed background assembly, Munkácsy advances a few figures. Members of the Sanhedrin, their servants, Roman soldiers, general onlookers and passers by and Jesus’ followers compose this already not so large group. The gospels describe the events fairly briefly and to the point. There