How the Resurrection was taught before film, press

Inverness Cathedral

Christendom will soon celebrate the single act of God which bears the weight of our existence: the Resurrection of Christ from the dead.

Art will either be central to these celebrations or negligible, but it's almost always present. Can something so vast and cataclysmic as the final days of Jesus-as-man be done with just the trade language of the world?

Perhaps that is why God first granted us art, music, poetry, dance and all the other lovelies. We can describe and ponder mysterious and spectacular matters once removed that way – or as the Psalmist said, “things too high for me.”

Scotland's Inverness Cathedral is one of the churches taking this task to heart with an exhibit touching on most of the arts in celebration of Resurrection Day.

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“Watch with me – The Art of Easter at Inverness Cathedral” features paintings, poetry and music based on the last day of Jesus' life as a man. Heather Gregg, curator of their 2014 show, described it as an effort to recover “the wonder of that first Easter – a tumultuous 24 hours in Jesus Christ’s life.” Themes of injustice, betrayal, loss and suffering are contrasted against the great love and hope that day brought. Really, the passion of Christ covers every important element of life.

Most of the Cathedral's exhibits are by Highlands-based artists and poets, but there are exceptions. A recording of American pastor and poet John Piper is heard reading from his poem “Thief on the Cross.” As Jesus quietly offers the criminal eternity from his own cross, a man is humble enough to see through the trappings to reality:

“How these few, quiet words could rend
The wicked wineskins of his life
Where every other moral knife
Had snapped like twigs against the rock.”

Should we be spending precious time and resources on lavish celebrations of Resurrection Day, with all the attendant arts? The Body of Christ is being “attacked on every side,” as Apostle Paul was in Caesar's day, and we are afflicted with nasty political and social campaigns as well. Many are deeply in need, so this is a worthwhile question.

Thinking of this somehow conjured up a scene from the musical “Fiddler on the Roof.” Armed Cossacks thunder toward the village, anti-Semitism hails from the sky and they live from minute to minute. In this budding terror, the protagonist Tevye suddenly demands of his wife (in song of course), “Do you love me?”

Golde remonstrates that “There is trouble in the town, daughters getting married,” and this is utterly irrelevant. Ardent husband continues his wooing until she admits her love. This comforts and empowers Tevye enough to resume battling the Leviathan at his gate.

Art can be used in the same way by the Church. Poetry, painting and music may be used as acts or instances of our love for God. Reminders. They can also be a way to illustrate to the world His love for mankind.

Johann Sebastian Bach's marvelous Easter Oratorio is one of the best of these. Mary Magdalene's aria is from the Song of Solomon, slightly revised: “Tell me, tell me quickly tell, where may I find Jesus whom my soul loves!” Echoing the thief on the cross she calls: “Come then, come, embrace me, or my heart is without you quite orphaned and distressed.”

J.S. Bach

Bach's lyrics are almost all straight from scripture and many of his pieces were written for church holidays. His work can stand symmetrical and grand, implying empires, epics, war, death or the judgment seat of God. Or he can tilt poignant, lyrical and exquisitely tender – as in his cantata, “Sheep May Safely Graze.”

There is something supernatural about the composer's work. Bach's unmatchable music is like jeweled clockwork, programmed by a team of mathematicians and athletes. They run up and down stairs in endless, complex patterns. Glittering and strong, his pieces seem to produce something living every time they are played. Bach had an immortal ability to move emotions hundreds of years later, even in opposition to the culture. Now would be one of those times of opposition.

When art achieves this, it is Mary Magdalene all over again, holding nothing back. Her locks are tumbling loose at His feet and gilding them with oils and heavy, very costly perfumes.

Centuries before the advent of film and the press, paintings were highly esteemed for communication. The Church relied on them to tell the Passion Week story in all its gruesome and gory detail. Many children sitting beneath them all year were neither surprised nor shocked by the great dripping wounds of Jesus on his cross.

“The Lamentation Over the Dead Christ" Peter Paul Rubens 1614

Some of these are a series by Peter Paul Rubens on “The Lamentation of the Dead Christ.” His are especially tender and human, while beautifully made. Much better known for his fleshy, very earthy nudes, his Marys writhe and tear at their hair in sorrow. They are more believable than the stately, reserved Northern women in many European paintings.

In one of his “Lamentations” pieces over Jesus’ temporary death, his mother tenderly touches his closed eyes. She is almost as pale and discolored in her sorrow as him. All of them appeal to normal families that have experienced death and mourning.

But by Resurrection Sunday everything changed, including the paintings.

Most artists had a difficult time (and still do) coming up with an appropriate but believable images for the Resurrection. Who knows how this happened? While Rubens didn’t do so well with that one (he has a set of clunky angels and disciples staring each other down), some stir imagination, mind and soul.

El Greco’s “Resurrection”

El Greco’s “Resurrection” is a vertical bloom of activity, human and divine. He doesn’t even attempt realism or believability with this unearthly and magnificent act. Jesus is thin, ethereal, calm – while force propels him heavenward. Beneath his feet, guards, gawkers and Romans are pummeled and tossed by the thrust. Many raise their hands in awe.

Artists, composers, writers and dancers still create to honor God and stir our mind’s eye toward what we haven’t yet seen – but we know is there.

Another reason to extravagantly celebrate Resurrection Sunday in the midst of turmoil and war is this command: “And be not frightened in anything by your opponents. This is a clear sign to them of their destruction, but of your salvation, and that from God.” (Phil. 1:28)

Taking this to heart, we should sing louder, color our banners and paintings brighter and leap faster in our dance – not stop. These, our “clear signs,” are being etched more deeply and the writing is on the wall. This aggravates our enemies but it is something we are called to do.

No fear this day for poets, penitents and all comers.

“Watch with me – The Art of Easter at Inverness Cathedral” Tuesday, March 31 March until Good Friday, April 3rd inclusive. The Cathedral is open from 8:30 a.m. daily and will close following the daily evening. See more information here.