The Many Faces Of Jesus Christ

"Updated version of an Orbis classic"--

The standard account of early Christianity tells us that the first centuries after Jesus' death witnessed an efflorescence of Christian sects, each with its own gospel. We are taught that these alternative scriptures, which represented intoxicating, daring, and often bizarre ideas, were suppressed in the fourth and fifth centuries, when the Church canonized the gospels we know today: Matthew, Mark, Luke, and John. The rest were lost, destroyed, or hidden. In The Many Faces of Christ, the renowned religious historian Philip Jenkins thoroughly refutes our most basic assumptions about the Lost Gospels. He reveals that dozens of alternative gospels not only survived the canonization process but in many cases remained influential texts within the official Church. Whole new gospels continued to be written and accepted. For a thousand years, these strange stories about the life and death of Jesus were freely admitted onto church premises, approved for liturgical reading, read by ordinary laypeople for instruction and pleasure, and cited as authoritative by scholars and theologians. The Lost Gospels spread far and wide, crossing geographic and religious borders. The ancient Gospel of Nicodemus penetrated into Southern and Central Asia, while both Muslims and Jews wrote and propagated gospels of their own. In Europe, meanwhile, it was not until the Reformation and Counter-Reformation that the Lost Gospels were effectively driven from churches. But still, many survived, and some continue to shape Christian practice and belief in our own day. Offering a revelatory new perspective on the formation of the biblical canon, the nature of the early Church, and the evolution of Christianity, The Many Faces of Christ restores these Lost Gospels to their central place in Christian history.

Thanks to current portrayals of Jesus of Nazareth, we are apt to think of him as having long hair and a short beard. But, the holy scriptures do not describe Christ’s physiognomy, and his representations are inconsistent in early Christian and medieval arts. How did this long-haired archetype come to be accepted in the late ninth century as the standard iconography of the Son of God? To answer this question, The Many Faces of Christ examines the complex historical and cultural dynamics underlying the making and final establishment of Christ’s image between late antiquity and the early Renaissance. Taking into account a broad spectrum of iconographic and textual sources, Michele Bacci describes the process of creating Christ’s image against the backdrop of ancient and biblical conceptions of beauty and physicality as indicators of moral, ascetic, or messianic qualities. He investigates the increasingly dominant role played by visual experience in Christian religious practice, which promoted belief in the existence of ancient documents depicting Christ’s appearance, and he shows how this resulted in the shaping of portrait-like images that were said to be true to life. With glances at analogous progressions in the Jewish, Muslim, Buddhist, Hindu, Jain, and Taoist traditions, this beautifully illustrated book will be of interest to specialists of Late Antique, Byzantine, and medieval studies, as well as anyone interested in the shifting, controversial conceptions of the historical figure of Jesus Christ.

That the Apocalypse of John is a “Revelation of Jesus Christ” (Rev 1:1) is a fact too often overlooked by interpreters of this last book of the Bible. As Msgr. A. Robert Nusca’s The Christ of the Apocalypse: Contemplating the Faces of Jesus in the Book of Revelation proposes, beyond predictions of earthquakes and falling stars, St. John articulates from start to finish a multifaceted and compelling portrait of Jesus Christ. Nusca offers an exegetical reading of selected verses of the Book of Revelation, incorporating rich spiritual and pastoral reflections. The Christ of the Apocalypse above all affirms that St. John’s God- and Christ-centered, symbolic universe offers our contemporary world a spiritual place to stand amid the shifting sands of postmodernity. As Cardinal Thomas Collins, Archbishop of Toronto, writes in his Foreword, “Now, as in the first century, Christians face martyrdom, and those who are not called to die for Christ are called to live for Christ in a world which in many ways rejects the Gospel. More than ever, we need the apocalyptic vision, to have our own vision of reality clarified, and to be strengthened in our evangelical witness.”

In this volume the noted scholar Ben Witherington, III discusses in chronological order the New Testament evidence of what the historical Jesus did, what he said, and what those around him believed. Jesus was a complex figure and, like light shining through a prism, reflections on the man who fits no one formula have produced a variety of colors and depths of shade that cannot and should not be all blended into some monochromatic image.

For many who identify themselves as Christians, Jesus has never become experientially personal or real. Countless others who have faithfully followed Christ confess to a spiritual dryness and lack of joy. These individuals are weary and unmoved by the plethora of information about Jesus. What they long for is an experience with Jesus. Picturing the Face of Jesus is an invitation to experience Christ more deeply. Through a rich palette of experiential media—art contemplation, gospel story-telling, and imaginative prayer—the reader is invited to picture the face of Jesus, his expressive, one-of-a-kind, human face. As a result, Jesus will become a real person with whom they candidly relate, instead of a hero they merely admire. Through this encounter, their own hearts will be transformed as they begin to reflect the face of Christ to others.

Jesus is one of the most commonly portrayed figures of all time in the artistic community. But what can all of his varying faces—coming from so many different ages and diverse countries around the world—tell us about him as a person? In this beautiful book, images of Jesus are used to explore his life and legacy, including Jesus as shepherd, Jesus as victor, Jesus as broken, and many more. With illuminating text and arresting images, this book is visually stunning and textually inspiring—the perfect gift for anyone with an interest in fine art, spirituality, or both.

Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.