Man of Sorrows
From The Art and Popular Culture Encyclopedia
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| - | :"''[[Ecce Homo]]'', "Behold the man." ''[[Man of Sorrows]]'' (c. 1525) by Flemish artist [[Maerten van Heemskerck]] is one of several arresting images of [[Jesus]] with an [[erection]] to be found in Steinberg's monograph [''[[The Sexuality of Christ in Renaissance Art and Modern Oblivion]]'', 1983, [[Leo Steinberg]]<nowiki>]</nowiki>. Some images even suggest an erection on the man crucified on the cross. There is no surviving image of Jesus engaged in sexual intercourse, but the erection clearly tells us that he was fully capable of such an act. "The [[humanation]] of God entails, along with mortality, his assumption of sexuality," Steinberg wrote, resting his case. [[Wilhelm Reich]] made exactly the same argument in ''[[The Murder of Christ]]'', where he presented Christ as the supreme expression of the fully embodied life-force ([[eros]], [[orgone]]) and male exemplar of [[orgasmic]] potency. If Steinberg is correct, Reich's concept of a virile-vital Christ would have been totally acceptable to many Christians in the former times."[[John Lamb Lash]][http://www.metahistory.org/gnostique/tarbabyjesus/LastTaboo.php] | + | :''[[Man of Sorrows (Maarten van Heemskerck)]]'' |
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| + | Among the passages in the [[Hebrew Bible]] that have been identified by Christians as prefigurations of the [[Messiah]], the '''Man of Sorrows''' of ''[[Isaiah 53]]'' is paramount - the various theological traditions are discussed at that article. The phrase translated into English as "Man of Sorrows" ("virum dolorum" in the [[Vulgate]], in German '''Schmerzensmann''') occurs at verse 3: | ||
| + | <blockquote>3) He is despised and rejected of men, a Man of sorrows, and acquainted with grief. And we hid as it were our faces from Him; He was despised, and we esteemed Him not. | ||
| + | 4) Surely He hath borne our griefs and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. | ||
| + | 5) But He was wounded for our transgressions; He was bruised for our iniquities. The chastisement of our peace was upon Him, and with His stripes we are healed. | ||
| + | 6) All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all. | ||
| + | </blockquote> | ||
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| + | The iconic devotional image called the "Man of Sorrows" shows Christ, usually naked above the waist, with the wounds of his [[Passion of Jesus|Passion]] prominently displayed on his hands and side, often crowned with the [[Crown of Thorns]], and sometimes attended by angels. It developed in Europe in from the 13th century, and was especially popular in Northern Europe. The image continued to spread and develop iconographical complexity until well after the Renaissance, but "the Man of Sorrows in its many artistic forms is the most precise visual expression of the piety of the later Middle Ages, which took its character from mystical contemplation rather than from theological speculation". Together with the ''[[Pietá]]'', it was the most popular of the [[Andachtsbilder]]-type images of the period - devotional images detached from the narrative of Christ's Passion. | ||
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Among the passages in the Hebrew Bible that have been identified by Christians as prefigurations of the Messiah, the Man of Sorrows of Isaiah 53 is paramount - the various theological traditions are discussed at that article. The phrase translated into English as "Man of Sorrows" ("virum dolorum" in the Vulgate, in German Schmerzensmann) occurs at verse 3:
3) He is despised and rejected of men, a Man of sorrows, and acquainted with grief. And we hid as it were our faces from Him; He was despised, and we esteemed Him not. 4) Surely He hath borne our griefs and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. 5) But He was wounded for our transgressions; He was bruised for our iniquities. The chastisement of our peace was upon Him, and with His stripes we are healed. 6) All we like sheep have gone astray; we have turned every one to his own way; and the Lord hath laid on Him the iniquity of us all.
The iconic devotional image called the "Man of Sorrows" shows Christ, usually naked above the waist, with the wounds of his Passion prominently displayed on his hands and side, often crowned with the Crown of Thorns, and sometimes attended by angels. It developed in Europe in from the 13th century, and was especially popular in Northern Europe. The image continued to spread and develop iconographical complexity until well after the Renaissance, but "the Man of Sorrows in its many artistic forms is the most precise visual expression of the piety of the later Middle Ages, which took its character from mystical contemplation rather than from theological speculation". Together with the Pietá, it was the most popular of the Andachtsbilder-type images of the period - devotional images detached from the narrative of Christ's Passion.
