
Grunewald’s “Resurrection”
(By the same artist who painted the Crucifixion, above. From the deadest Jesus to the most alive Jesus.)
Christianity, Culture, Vocation
March 21st, 2008 | Art, Christ, Holidays

Grunewald’s “Resurrection”
(By the same artist who painted the Crucifixion, above. From the deadest Jesus to the most alive Jesus.)
Gene Edward Veith is the Provost and Professor of Literature at Patrick Henry College, the Director of the Cranach Institute at Concordia Theological Seminary, a columnist for World Magazine and TableTalk, and the author of 18 books on different facets of Christianity & Culture.
Lucas Cranach was the great artist of the Reformation. He was a close friend of Martin Luther. He was a businessman, who first printed Luther's translation of the Bible; a politician, who served on the Wittenberg town council and served the city as its mayor; a chemist, who operated a pharmacy; a teacher, who trained a host of apprentice artists; a family-man, who helped arrange Luther's marriage with the two men serving as the godfathers of each other's children; and an active layman in his church, who gave his pastors important personal and material support. As a Christian who lived out his faith in his many different callings, Cranach thus embodies the Reformation doctrine of vocation, using the gifts God had given him in service to Christ and his neighbor in the church, the family, the workplace, and the culture. In the spirit of Lucas Cranach, this blog will discuss wide-ranging issues of Christianity and culture with a Lutheran twist.
© Cranach: The Blog of Veith — Copyblogger theme design by Chris Pearson
4 comments ↓
Don’t miss the other article in yesterday’s Slate - “That Curious Idea of Resurrection.”
Make no mistake: if He rose at all
it was as His body;
if the cells’ dissolution did not reverse, the molecules
reknit, the amino acids rekindle,
the Church will fall.
It was not as the flowers,
each soft Spring recurrent;
it was not as His Spirit in the mouths and fuddled
eyes of the eleven apostles;
it was as His Flesh: ours.
The same hinged thumbs and toes,
the same valved heart
that — pierced — died, withered, paused, and then
regathered out of enduring Might
new strength to enclose.
Let us not mock God with metaphor,
analogy, sidestepping transcendence;
making of the event a parable, a sign painted in the
faded credulity of earlier ages:
let us walk through the door.
The stone is rolled back, not papier-mache,
not a stone in a story,
but the vast rock of materiality that in the slow
grinding of time will eclipse for each of us
the wide light of day.
And if we will have an angel at the tomb,
make it a real angel,
weighty with Max Planck’s quanta, vivid with hair,
opaque in the dawn light, robed in real linen
spun on a definite loom.
Let us not seek to make it less monstrous,
for our own convenience, our own sense of beauty,
lest, awakened in one unthinkable hour, we are
embarrassed by the miracle,
and crushed by remonstrance.
John Updike, “Seven Stanzas at Easter”
Wow, Tickletext! I did not know that Updike poem! Thanks for this.
[…] (HT on Grünewald: Gene Veith) […]
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