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Sunday, 19 July 2020
The long history of how Jesus came to resemble a white European
Biblical Racism: When
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of Song of Songs was included among the books of the bible because it pictures
the Love between Jesus Christ and his Church
Assistant Professor of Art History, University of South Carolina
The portrayal of Jesus as a white, European man has come under
renewed scrutiny during this period of introspection over the legacy of
racism in society.
As protesters called for the removal of Confederate statues in the U.S., activist Shaun King went further, suggesting that murals and artwork depicting “white Jesus” should “come down.”
His concerns about the depiction of Christ and how it is used to uphold notions of white supremacy are not isolated. Prominentscholars and the archbishop of Canterbury have called to reconsider Jesus’ portrayal as a white man.
As a European Renaissance art historian, I study the evolving image of Jesus Christ from A.D. 1350 to 1600. Some of the best-known depictions of Christ,
from Leonardo da Vinci’s “Last Supper” to Michelangelo’s “Last
Judgment” in the Sistine Chapel, were produced during this period.
But the all-time most-reproduced image of Jesus comes from another period. It is Warner Sallman’s light-eyed, light-haired “Head of Christ” from 1940. Sallman, a former commercial artist who created art for advertising campaigns, successfully marketed this picture worldwide.
Sallman’s ‘Head of Christ’
Through Sallman’s partnerships with two Christian publishing
companies, one Protestant and one Catholic, the Head of Christ came to
be included on everything from prayer cards to stained glass, faux oil
paintings, calendars, hymnals and night lights.
Sallman’s painting culminates a long tradition of white Europeans
creating and disseminating pictures of Christ made in their own image.
In search of the holy face
The historical Jesus likely had the brown eyes and skin of other first-century Jews from Galilee,
a region in biblical Israel. But no one knows exactly what Jesus
looked like. There are no known images of Jesus from his lifetime, and
while the Old Testament Kings Saul and David are explicitly called tall and handsome in the Bible, there is little indication of Jesus’ appearance in the Old or New Testaments.
‘The Good Shepherd.’Joseph Wilpert
Even these texts are contradictory: The Old Testament prophet Isaiah reads that the coming savior “had no beauty or majesty,” while the Book of Psalms claims he was “fairer than the children of men,” the word “fair” referring to physical beauty.
The earliest images of Jesus Christ emerged in the first through
third centuries A.D., amidst concerns about idolatry. They were less
about capturing the actual appearance of Christ than about clarifying
his role as a ruler or as a savior.
To clearly indicate these roles, early Christian artists often relied
on syncretism, meaning they combined visual formats from other
cultures.
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Probably the most popular syncretic image is Christ as the Good Shepherd, a beardless, youthful figure based on pagan representations of Orpheus, Hermes and Apollo.
In other common depictions, Christ wears the toga or other attributes of the emperor. The theologian Richard Viladesau argues that the mature bearded Christ, with long hair in the “Syrian” style, combines characteristics of the Greek god Zeus and the Old Testament figure Samson, among others.
Christ as self-portraitist
The first portraits of Christ, in the sense of authoritative
likenesses, were believed to be self-portraits: the miraculous “image
not made by human hands,” or acheiropoietos.
Acheiropoietos.Tretiakov Gallery, Moscow
This belief originated in the seventh century A.D., based on a legend
that Christ healed King Abgar of Edessa in modern-day Urfa, Turkey,
through a miraculous image of his face, now known as the Mandylion.
A similar legend adopted by Western Christianity between the 11th and
14th centuries recounts how, before his death by crucifixion, Christ
left an impression of his face on the veil of Saint Veronica, an image
known as the volto santo, or “Holy Face.”
Christ crowned with thorns.Artist Antonello da Messina. The Friedsam Collection, Bequest of Michael Friedsam, 1931, Metropolitan Museum, New York
These two images, along with other similar relics, have formed the
basis of iconic traditions about the “true image” of Christ.
From the perspective of art history, these artifacts reinforced an
already standardized image of a bearded Christ with shoulder-length,
dark hair.
In the Renaissance, European artists began to combine the icon and
the portrait, making Christ in their own likeness. This happened for a
variety of reasons, from identifying with the human suffering of Christ
to commenting on one’s own creative power.
Albrecht Dürer.Albrecht Dürer/Alte Pinakothek Collections
The 15th-century Sicilian painter Antonello da Messina, for example,
painted small pictures of the suffering Christ formatted exactly like
his portraits of regular people,
with the subject positioned between a fictive parapet and a plain black
background and signed “Antonello da Messina painted me.”
The 16th-century German artist Albrecht Dürer blurred the line
between the holy face and his own image in a famous self-portrait of
1500. In this, he posed frontally like an icon, with his beard and
luxuriant shoulder-length hair recalling Christ’s. The “AD” monogram
could stand equally for “Albrecht Dürer” or “Anno Domini” – “in the year
of our Lord.”
In whose image?
This phenomenon was not restricted to Europe: There are 16th- and 17th-century pictures of Jesus with, for example, Ethiopian and Indian features.
In Europe, however, the image of a light-skinned European Christ
began to influence other parts of the world through European trade and
colonization.
‘Adoration of the Magi.’Artist Andrea Mantegna. The J. Paul Getty Museum
The Italian painter Andrea Mantegna’s “Adoration of the Magi” from
A.D. 1505 features three distinct magi, who, according to one contemporary tradition,
came from Africa, the Middle East and Asia. They present expensive
objects of porcelain, agate and brass that would have been prized
imports from China and the Persian and Ottoman empires.
But Jesus’ light skin and blues eyes suggest that he is not Middle
Eastern but European-born. And the faux-Hebrew script embroidered on
Mary’s cuffs and hemline belie a complicated relationship to the Judaism
of the Holy Family.
In Mantegna’s Italy, anti-Semitic myths
were already prevalent among the majority Christian population, with
Jewish people often segregated to their own quarters of major cities.
Artists tried to distance Jesus and his parents from their Jewishness. Even seemingly small attributes like pierced ears
– earrings were associated with Jewish women, their removal with a
conversion to Christianity – could represent a transition toward the
Christianity represented by Jesus.
Much later, anti-Semitic forces in Europe including the Nazis would
attempt to divorce Jesus totally from his Judaism in favor of an Aryan stereotype.
White Jesus abroad
As Europeans colonized increasingly farther-flung lands, they brought
a European Jesus with them. Jesuit missionaries established painting
schools that taught new converts Christian art in a European mode.
A small altarpiece made in the school of Giovanni Niccolò,
the Italian Jesuit who founded the “Seminary of Painters” in Kumamoto,
Japan, around 1590, combines a traditional Japanese gilt and
mother-of-pearl shrine with a painting of a distinctly white, European
Madonna and Child.
Nicolas Correa’s ‘The Mystic Betrothal of Saint Rose of Lima.’Museo Nacional de Arte
In colonial Latin America – called “New Spain” by European colonists – images of a white Jesus reinforced a caste system
where white, Christian Europeans occupied the top tier, while those
with darker skin from perceived intermixing with native populations
ranked considerably lower.
Artist Nicolas Correa’s 1695 painting of Saint Rose of Lima, the
first Catholic saint born in “New Spain,” shows her metaphorical
marriage to a blond, light-skinned Christ.
Legacies of likeness
Scholar Edward J. Blum and Paul Harvey
argue that in the centuries after European colonization of the
Americas, the image of a white Christ associated him with the logic of
empire and could be used to justify the oppression of Native and African Americans.
In a multiracial but unequal America, there was a disproportionate
representation of a white Jesus in the media. It wasn’t only Warner
Sallman’s Head of Christ that was depicted widely; a large proportion of
actors who have played Jesus on television and film have been white with blue eyes.
Pictures of Jesus historically have served many purposes, from
symbolically presenting his power to depicting his actual likeness. But representation matters, and viewers need to understand the complicated history of the images of Christ they consume.
