Carl Schleicher’s Eine Streitfrage aus dem Talmud and Reading the Gospels

I don’t know how other private high school teachers approach teaching the Bible to their students but since I work at a college preparatory school sponsored by the Episcopal Church, I introduce them to the best of scholarship available to us. For example, this means that my students encounter the Synoptic Problem. They come to see the similarities and differences between the accounts of the different canonical Gospels (and they do read some non-canonical Gospels as well). For some of my students, there’s an indifference to what they’re learning. For others, there’s a sense of adventure while being simultaneously overwhelmed because they’ve never studied the Bible before taking my class. (Often this is the case for students who aren’t raised by Christians.) For others, there’s an excitement, possibly because they’re being given a space to read the Bible critically without judgment, some for the first time. (Now, “critically” doesn’t mean disparaging the text but instead reading it thoughtfully: not taking the claims of the text at face value but instead putting in the intellectual work required to determine how I understand and how I receive what I’m reading.) For others, my class can lead to a bit of an existential crisis.

Now, I see my role as primarily that of an academic guide to the text. I don’t favor any particular confessional approach. I don’t try to pursued my students of the truthfulness of the text’s claims. I don’t try to convert or proselytize my students. When I’m asked what my religion is (because sometimes my approach makes them wonder), I’m honest that I’m a Christian because I don’t want to feign objectivity even if methodologically I try to be as objective as possible. Since I’m a Christian who has been studying the Bible academically for a couple of decades, and since I’ve found a way to find peace between my own religious commitments and the demands of scholarship, I’ll talk to students who want to think through how what they’re learning might impact their faith. And here I want to share one of two examples I use for students who wonder how I remain Christian while reading the Bible critically. I’ll discuss one here and one in a future post.

Eine Streitfrage aus dem Talmud via Wikimedia Commons

First, I share Carl Schleicher’s Eine Streitfrage aus dem Talmud (above). This 19th century oil painting provides me with a perfect visual for how I read the Bible, academically and religiously, often simultaneously. In this painting, five rabbis are reading the Talmud. They’re debating its meaning with some intensity. The fifth rabbi listens in from behind the group. This depicts one of the beauties of the Jewish tradition: internal debate about the meaning of sacred texts isn’t a bug but a feature. Christianity hasn’t done as well in this regard. Our obsession with orthodoxy versus heresy has killed much of our theological creativity.

Personally, when I read the Gospels, specifically, this image comes to my mind. As I told a student recently who’s troubled by the reality that non-canonical Gospels exist and that the depiction of Jesus differs between Gospels, I see myself in this picture. As I reflected on this further with a friend who I was talking to yesterday, I see myself as the man in the back listening to the debate. And I imagine the four rabbis as representing how I see the four evangelists. Who is Jesus? These four accounts present different pictures. I’m invited to listen, to ponder, and to decide for myself.

Now, as I told my student last week: this puts more responsibility on us. We can settle for a shallow “Bible-in-a-year” approach to reading the text that checks a box but never stops to truly wrestle with what we’re reading because we may care more that we’re reading than that we’re understanding and interpreting what we’re reading. But if we care to interpret and understand, this takes work. We must listen intently. We must hear the different presentations and then we must decide what we’re going to do with them. I understand why someone would want to outsource this responsibility to their clergy. I understand why someone might prefer to encounter the Gospels primarily through the filter of sermons and liturgy. That’s a legitimate approach. But if you take the challenge of reading—really reading—then you inherit the responsibility as well.

Again, this can be seen as a negative thing. Who wants the responsibility of sorting out who Jesus was and is for themselves? That may feel high stakes. But for others, like me, and I hope for many of my Christian students, this is an invitation to truly encounter what the Gospels are within their canonical setting: four sages exploring the meaning of Jesus of Nazareth.

(What about the non canonical Gospels? How does this fit my analogy? Well, I read those too. I find them fascinating. But on historical grounds even more so than theological grounds, I find their lateness less interesting and inviting. Note: I think even the Gospel of Thomas is a later second century text that derives from the canonical Gospels, as has been argued by scholars like Mark Goodacre and Simon Gathercole. It’s fascinating. Other noncanonical Gospels provide me with comfort knowing that Christians have been wrestling with who Jesus was and is to them from the earliest generations, and that sometimes their understanding of Jesus clashed with what they found in what became the canonized Gospels, but I find them less compelling. Maybe this means the concept of canonization has a greater pull on me than it should.)

Stanley Spencer’s ‘Christ in the Wilderness’

I’m listening to a lecture (‘Consuming Creatures: The Christian Ethics of Eating Animals) by David Clough through Facebook Live right now. He has mentioned two things that caught my attention. The first is an interpretation of Mark 1.13, which contains the statement that ‘He [Christ] was with the wild animals…’ Clough suggested that this refers to Isaiah 11.1 -9’s Peaceable Kingdom. I had never understood that line, and I’ll have to think about this more, but it’s a marvelous reading that would really impact how I hear Mark 1.14-15, where Jesus (following the arrest of John the Baptist) goes into Galilee ‘proclaiming the good news of God’ which contains the claim ‘The kingdom of God has come near.’

The second is the art series by Stanley Spencer, ‘Christ in the Wilderness’, which may be inspired by Mark 1.13. It’s a beautiful series. And according to Clough, Spencer depicts the animals mentioned in Jesus’ sermons, imagining that he encountered them in the wilderness. Here are some samples:

Christ in the Wilderness—the Scorpion
Christ in the Wilderness—the Hen
Christ in the Wilderness—the Foxes
Christ in the Wilderness—the Lilies

Interview: discussing the Saint John’s Bible with Jonathan Homrighausen

Jonathan Homrighausen is a PhD candidate at Duke University, working on Hebrew Bible. He’s also a writer and scholar on Scripture, art, and interreligious dialogue. While he was working on his MA at the Graduate Theological Union in Berkeley, CA, he began researching The Saint John’s Bible. His interest continued to develop to the point that he wrote a book about it: Illuminating Justice: The Ethical Imagination of The Saint John’s Bible (Liturgical Press, 2018), which ‘explores the call to social ethics in The Saint John’s Bible, the first major handwritten and hand-illuminated Christian Bible since the invention of the printing press.’

If you’re interested in the history of the Bible, biblical manuscripts and their physicality, art and the Bible, the liturgical use of the Bible, or just the Bible, period, you’ll enjoy this interview. Here’s the questions I asked Jonathan:

  1. First, what is The Saint John’s Bible? When, where, and how did it come about?
  2. Can you tell us about your professional training and how The Saint John’s Bible became of interest to you?
  3. I’ve read that this is the first Bible of its kind made since the popularization of the printing press. What does this mean and how does it help us understand the history of the Bible?
  4. Many of us might not think much about the intersection between art and the Bible. How does The Saint John’s Bible shed light on that relationship?
  5. My friend, Michael Barber of the Augustine Institute in Denver, has said something to the extent that we sometimes forget the Bible’s purpose was liturgical or sacramental long before it became an object of research. How does The Saint John’s Bible help us think about the liturgical purpose of the Bible?
  6. Your book, Illuminating Justice: The Ethical Imagination of The Saint John’s Bible, ‘explores the social ethics in The Saint John’s Bible’. How does this Bible uniquely provoke ethical/moral thinking? Or, another way of asking: How does the Bible provoke ethical/moral thinking in a way that’s different from any other Bible I might purchase?
  7. If I wanted to see The Saint John’s Bible, what would I have to do?

Recently read: Taylor’s ‘What Did Jesus Look Like?’

Joan E. Taylor, What Did Jesus Look Like? (T&T Clark, 2018).

Joan E. Taylor’s What Did Jesus Look Like? is a unique intersection of historical Jesus studies and art history with some theological and liturgical history thrown into the mix. Chapters 2-9 focus on what we might call the ‘reception history’ of Jesus’ appearance. In these chapters we learn about how Jesus has morphed over the centuries, whether he is a white European man (with which we are accustom); the ‘Byzantine Cosmocrator’; a younger looking man; a new Moses; a wise, bearded philosopher; or an unkempt vagabond. Sacred images of Jesus ranging from ‘The Veronica’ (pp. 30-37) to the Turn Shroud (pp. 58-66) are treated along with various icons, paintings, statues, etc.

For those interested in historical Jesus studies, chapters 10-11 are key. Taylor reminds us that little is said about Jesus’ appearance and nothing is said about any unique characteristics. In other words, ‘He was ordinary-looking.’ (p. 155) As a Judean who lived in Galilee, the forensics from skeletal remains of similar men from Jesus’ time, and literary descriptions of Judeans, can help us better understand how he may have appeared. Taylor evaluates the average height, appearance (including skin color/tone), hair (head and face), physique, clothing, shoes, and other aspects of dress, including differences between wealthier and poorer people’s clothing and gendered aspects of clothing.

Physically, Taylor concludes that Jesus, if as average as we imagine him to be, ‘would have been about 166 cm (5 feet 5 inches) tall, with olive-brown skin, brown-black hair and brown eyes. He was a man of “Middle Eastern appearance”, whose ethnicity can be compared to Iraqi Jews of today.’ (p. 194) She ends the book noting that this discussion regarding Jesus’ appearance isn’t settled but that she hopes that this book contributes and that it challenges modern artists to rethink how they depict Jesus.

A final note on this book. Here’s the picture Taylor drew of how she imagined Jesus (obviously black-and-white so lacking other detail):

From p. 192

It reminded me of one of my favorite TV Jesuses: the Jesus from ‘Jesus: His Life’ by The History Channel. Here are a couple images of Greg Barnett from the miniseries:

Seeing that this series is from 2019, it shows vast improvement over the Jesus from The Bible miniseries from 2013. Here’s that Jesus played by Diogo Morgado:

This latter Jesus is too pretty. He looks like the Jesus of traditional European art. But let’s end on a positive note with another one of my favorite Jesuses: Selva Rasalingam from the 2014-2015 dramatized ‘word-for-word adaptation’ of the canonical Gospels of Matthew, Mark, Luke, and John. Here are a couple shots of this Jesus: