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Re: [anthroposophy_tomorrow] Re: Myth and legend/Judas

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  • Mike Helsher
    ... There are so many Dottie that it s hard to really chose. I am struck by one that I can t find online where the Christ-child is the only sorce of light in
    Message 1 of 10 , Mar 1, 2004
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      Hi Dottie, You wrote:
      > is the greatest of all Rembrandts work in your mind
      > pertaining to the Christ?

      There are so many Dottie that it's hard to really chose. I am struck by one
      that I can't find online where the Christ-child is the only sorce of light
      in the painting.

      I also think that a study of his self-portriats over the course of his life,
      is a great example of him coming to know the Christ within himself.

      > In looking at the picture offered up I am struck by
      > the one surrounded by blinding light or actually is
      > blinding light. What is that all about? Also I am
      > confused to exactly who is being portrayed as Judas:
      > is it the one in all black bent down to the left or
      > the man to the right with his hands in the air. I
      > checked out two different pictures on the site.


      Judas is the one kneeling with his hands clasped and if you can make it out,
      there is a look of anguish on his face. He has returned the silver coins to
      the treacherous Pharisees, some of which are shunning him, and others are
      looking at him in awe, as he begs for forgiveness. Here is a little excerpt
      from an essay that I wrote about him a couple of years ago that I called
      "Rembrandt and the evolution of Human freedom":

      "One of Rembrandt's early paintings is a profound example of the beginnings
      of the expression of his own inner freedom: "Judas returning the Thirty
      Pieces of silver" was painted when he was just 23 years old. Here is a
      picture that is not a typical portrayal of a Biblical theme. In the bottom
      center we see soft glancing light cast partially onto the silver pieces that
      have been strewn onto the floor by the obviously tormented Judas, who is
      kneeling and clutching his hands in anguish. The closest of the group of
      treacherous Pharisees who commissioned him is gesturing with his hand and
      turning his head in disgust, as he greedily discusses amongst his
      conspirators their recent triumph.

      Rembrandt's willingness to portray Judas in this manner shows us a not too
      common ability to see a traitor as a human being -- a human being who is in
      pain and obviously wishing to redeem himself. This is a prime example of an
      aspect of inner freedom. A freedom from the one-sidedness of condemnation,
      and also the freedom that is offered in the ability to forgive. That
      Rembrandt could portray this kind of empathy at such a young age is indeed

      > In reading the gospels I clearly felt that Judas was
      > set up in a way. Then I came to understand that Satan
      > entered in 'after' Jesus okayed for it to be. It was
      > on Jesus' word that the final leg of the journey began
      > and it was with a little push from Jesus as well.
      > Reminds me a moment of Job in that he was forsaken but
      > this time it is to further the cause of Christ. Again
      > I think we also might keep in mind the idea that Judas
      > indeed was the greatest warrior of the Jewish
      > Maccabbee family that ends the OT.

      Wow, I didn't know that. It ads quite the significance when you think of it
      like that.
      > Did you get a chance to check out the page I posted
      > regarding the Beloved Disciple. The page with the
      > Catholic scholar speaks to an interconnecting idea
      > that dates back to the OT. I still haven't
      > contemplated that yet but it is pretty interesting.
      I'm having so much trouble keeping up lately; could you paste it again for

      Thanks Dottie

      Truth and Love

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