Christ And Christianity The Picture Of Jesus The Master

Jesus the Master Builder kept me up all night. Few books have that power.' -- Jonathan Glancey, The Guardian Did Jesus visit Britain? The activities of Jesus before the start of his ministry at the age of thirty have been the subject of much speculation. Did he travel beyond the bounds of Palestine in his search for wisdom knowledge? Where did he acquire the great learning which amazed those who heard him preaching and enabled him to cross swords in debate with Scribes and Pharisees? A number of legends suggest that Jesus travelled to the British Isles with Joseph of Arimathea, who worked in the tin trade. With these legends as his starting point, Gordon Strachan uncovers a fascinating network of connections between the Celtic world and Mediterranean culture and philosophy. Taking the biblical image of Wisdom as the 'master craftsman', Strachan explores the deep layers of Mystery knowledge shared between the Judaic-Hellenic world and the northern Druids -- from the secret geometry of masons and builders, which Jesus would have encountered in his work as a craftsman in Palestine, to the Gematria or number coding of the Old and New Testaments. This book is the basis of the film documentary 'And Did Those Feet'.

Old Christianity has certainly done a great service to this world though skimming over the surface of Jesuss guidelines. What is most needed now is a fresh comprehension of his real mind and human saga. Rather than reviving primitive Christianity, we must go forward from where we find ourselves. The Master said it bluntly to his early disciples, I still have much more to say to you, more than you can now bear. But when he, the Spirit of the Truth, comes, he will guide you into all truth. Jesuss modern disciples should become in this era of knowledge an overflowing source of inspiration and superior motivation to all men and women. Religion is only an exalted humanism until it is made divine by enmeshing the heavenly spirit with the human experience.

Vladimir Nabokov complained about the number of Dostoevsky's characters "sinning their way to Jesus." In truth, Christ is an elusive figure not only in Dostoevsky's novels, but in Russian literature as a whole. The rise of the historical critical method of biblical criticism in the nineteenth century and the growth of secularism it stimulated made an earnest affirmation of Jesus in literature highly problematic. If they affirmed Jesus too directly, writers paradoxically risked diminishing him, either by deploying faith explanations that no longer persuade in an age of skepticism or by reducing Christ to a mere argument in an ideological dispute. The writers at the heart of this study understood that to reimage Christ for their age, they had to make him known through indirect, even negative ways, lest what they say about him be mistaken for cliche, doctrine, or naïve apologetics. The Christology of Dostoevsky, Leo Tolstoy, Mikhail Bulgakov, and Boris Pasternak is thus apophatic because they deploy negative formulations (saying what God is not) in their writings about Jesus. Professions of atheism in Dostoevsky and Tolstoy's non-divine Jesus are but separate negative paths toward truer discernment of Christ. This first study in English of the image of Christ in Russian literature highlights the importance of apophaticism as a theological practice and a literary method in understanding the Russian Christ. It also emphasizes the importance of skepticism in Russian literary attitudes toward Jesus on the part of writers whose private crucibles of doubt produced some of the most provocative and enduring images of Christ in world literature. This important study will appeal to scholars and students of Orthodox Christianity and Russian literature, as well as educated general readers interested in religion and nineteenth-century Russian novels.

Scot McKnight offers an accessible introduction to the life and work of Jesus. He begins by offering helpful background information on the reliability of the Gospels, the religious setting of Jesus' life, the heart of Jesus' teaching, and a summation of what kind of person Jesus was. The book then gives a continuous narrative account of the life and words of Jesus, woven together from the four canonical Gospels. This lets the story of the Christ speak for itself in the events of Jesus' birth and early years, his baptism and early ministry, the Sermon on the Mount, his healings and teachings, the road to Jerusalem, the way to the cross, and his passion and resurrection. - Publisher.

The Image of Christ in Modern Art explores the challenges presented by the radical and rapid changes of artistic style in the 20th century to artists who wished to relate to traditional Christian imagery. In the 1930s David Jones said that he and his contemporaries were acutely conscious of ’the break’, by which he meant the fragmentation and loss of a once widely shared Christian narrative and set of images. In this highly illustrated book, Richard Harries looks at some of the artists associated with the birth of modernism such as Epstein and Rouault as well as those with a highly distinctive understanding of religion such as Chagall and Stanley Spencer. He discusses the revival of confidence associated with the rebuilding of Coventry Cathedral after World War II and the commissioning of work by artists like Henry Moore, Graham Sutherland and John Piper before looking at the very testing last quarter of the 20th century. He shows how here, and even more in our own time, fresh and important visual interpretations of Christ have been created both by well known and less well known artists. In conclusion he suggests that the modern movement in art has turned out to be a friend, not a foe of Christian art.Through a wide and beautiful range of images and insightful text, Harries explores the continuing challenge, present from the beginning of Christian art, as to how that which is visual can in some way indicate the transcendent.