Rembrandt Reads the Gospels: Form, Context and Theological Responsibility in New Testament Interpretation
Art is part of the history of the church, and relates to spirituality and to the practical expression of Christian faith. It illustrates theological loci and biblical themes. Often, the art which fulfils this function does so with the conscious intent of the artist; sometimes not. Attempts have been...
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
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| Published: |
Cambridge Univ. Press
1997
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| In: |
Scottish journal of theology
Year: 1997, Volume: 50, Issue: 4, Pages: 399-413 |
| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Parallel Edition: | Non-electronic
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| 520 | |a Art is part of the history of the church, and relates to spirituality and to the practical expression of Christian faith. It illustrates theological loci and biblical themes. Often, the art which fulfils this function does so with the conscious intent of the artist; sometimes not. Attempts have been made, however, to argue that art not only illustrates theology, but also contributes to it. Even so, systematic theologians and biblical scholars — when they do talk to each other — still converse on the basis of largely word-centred approaches to their tasks. I am neither systematic theologian nor biblical scholar, precisely because I attempt to keep a foot in both camps. I am even less of an art critic. Yet it is clear that in the world of art there is a whole area of exploration yet to be ventured into not only historically (have we really sufficiently explored how biblical interpretation and doctrinal theology have been influenced by art?) but also from the perspective of constructive theology (what contribution can art past and present make to the very reformulation and expansion of Christian doctrine?). This paper offers a brief reading of three paintings by Rembrandt, of the Emmaus Road story in Luke 24.13–35. The theological significance of the changing interpretations of the passage is drawn out and the implications of the use of the paintings, in terms of the creative use of the Bible in Christian theology. | ||
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