Examining Atonement
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Classical ideas about atonement have been accused of entering evil and violence into the heart of God. This presentation examines biblical, historical, and contemporary theologies of atonement.
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Examining Atonement
- 1. Dr. Kimberly Vrudny University of St. Thomas kjvrudny@stthomas.edu 651.962.5337 EXAMINING ATONEMENT: JUSTICE, NONVIOLENCE, AND THE CROSS
- 2. HOW DOES JESUS SAVE?
- 3. BIBLICAL I M AG I N AT I O N
- 5. YOM KIPPUR
- 12. ICTHUS
- 13. GOOD SHEPHERD
- 14. CHI-RHO SYMBOL
- 15. PENDANT CROSSES
- 16. PENDANT CROSSES
- 25. INTERRUPTION
- 30. Weaver’s Nonviolent Atonement Theory Jesus’ ministry had a strong social component Jesus had an activist mission: to make the rule of God visible. Jesus revealed that the reign of God encompasses the created order. The incarnation reveals God’s preferential option for the poor. Jesus’ actions provoked opposition. Jesus rejected violence and embraced principles of non-violence. Crucifixion is humankind’s resistance to God. Resurrection is God’s “Yes” to life. Evil will not have final say.
- 31. Satisfaction Theory God is Violent Cosmic Focus Obedient to Death Saves by Dying: Crucifixion Mission was to Die to Save Nonviolent Atonement God is Nonviolent Earthly Focus Obedient to Holiness Saves by Rising: Resurrection Mission was to Live to Save
- 34. Archbishop Desmond Tutu weeps during South Africa’s Truth and Reconciliation Commission. POLITICAL VIOLENCE
- 35. Palaver Tree, by Michael Ives JUSTICE UNDER A TREE
- 36. UBUNTU
- 37. “A person with Ubuntu is open and available to others, affirming of others, does not feel threatened that others are able and good, based from a proper self-assurance that comes from knowing that he or she belongs in a greater whole and is diminished when others are humiliated or diminished, when others are tortured or oppressed.” —Desmond Tutu
- 38. “Ubuntu is the Zulu word that expresses the understanding that we are human through other people. It expresses the idea that ‘I am because you are.’ We are dependent upon one another for our very being. According to the thinking of ubuntu, we are all born into an intricate, luminous, and radiant web of interconnectedness, in such a way that where the being of one is diminished, all are diminished, and where the being of one is nourished, all are nourished.” —from Beauty’s Vineyard
- 39. FORGIVENESS
- 40. RECONCILIATION
- 41. POWER | KENOSIS
- 42. Matthias Grünewald, Isenheim Altarpiece, 1512-1516 THE CROSS
- 44. RESTORATIVE THEORY RECONCILIATION RECONCILIATION occurs by work of the Advocate to sanctify the relationship between humankind and God by restoring creation. Humans cooperate with divine graces to (re)create Beauty’s Vineyard—a blessed community of shalom and hesed incrementally uniting (re-establishing perfect trust) between this world and the next. INCARNATION INCARNATION is God’s second everlasting restorative move: In Christ, God grafts the Gentiles into the covenantal vine. Christ lives among us, and expresses God’s forgiveness. His death is carried out for unholy religious and political reasons. Nonviolence reveals the nature of divine power. COVENANT COVENANT is God’s first everlasting restorative move: God fulfills God’s promises to Abraham and makes God known to the nations through the Jewish people. Prophets proclaim God’s divine word, continually calling for justice and righteousness. CREATION CREATION participates in the life of God, and reveals God as Good, Beautiful, and True. When human life evolves to experience consciousness, including shame borne of knowledge that we have violated holiness, humankind falls from innocence.
- 45. Traditional Theories of Atonement Characterize God as Violent Spiritualize Event Encourage Anti-Semitism Confuse Betrayal with Obedience Introduce Conflict into Trinity ✗ ✗ ✗ ✗ ✗ Restorative Theory of Atonement Characterizes God as Peaceful Contextualizes Event Honors Hebraic Covenant Acknowledges Betrayal Resolves Trinitarian Conflict ✗ ✗ ✗ ✗ ✗
Notas do Editor
- The first-century community struggled to understand Jesus’s death—how the Son of God had been brutally killed. They explored their tradition for meaning, and began to understand him as the Paschal Lamb. Just as the Angel of Death had passed over the houses with doorposts marked by the blood of a lamb, so would the Angel of Death pass over those who were baptized as his followers. They thereby achieved eternal life.
- Likewise, they drew upon their understanding of Yom Kippur: the Day of Atonement. Just as their sins were ritually placed on a lamb and were forgiven in the flame of sacrifice, so was Jesus a lamb upon whom the sins of humanity were placed. Sins were forgiven in his death—a once and for all sacrifice to end all sacrifices.
- These early Christians also reinterpreted the passages about the Suffering Servant— the one who would vicariously suffer on behalf of the people. Originally, Isaiah had been interpreted to mean Israel was the Suffering Servant, the nation that suffered on behalf of the world especially during the exile in order to make God known to all the nations. Now the suffering servant was read to be Christ, who suffered to redeem the world.
- The Alexamenos graffito (also known as the graffito blasfemo)[1]:393 is an inscription carved in plaster on a wall near the Palatine Hill in Rome, now in the Palatine Antiquarium Museum. It may be the earliest surviving image of Jesus and is alleged to be among the earliest known pictorial representations of the Crucifixion of Jesus, together with an engraved gem.[2] It is scratched on plaster and was estimated to have been carved c. 200 AD. [3] The image depicts a human-like figure affixed to a cross and possessing the head of a donkey. In the top right of the image is what has been interpreted as either the Greek letter upsilon or a tau cross.[1] To the left of the image is a young man, apparently intended to represent Alexamenos,[4] a Roman soldier/guard, raising one hand in a gesture possibly suggesting worship.[5][6] Beneath the cross is a caption written in crude Greek: Αλεξαμενος ϲεβετε θεον. ϲεβετε can be understood as a variant spelling (possibly a phonetic misspelling)[7] of Standard Greek ϲεβεται, which means "worships". The full inscription would then be translated as "Alexamenos worships [his] God".[7][8][9] Several other sources suggest "Alexamenos worshipping God", or similar variants, as the intended translation.[10][11][12][13] The graffito was discovered in 1857 when a building called the domus Gelotiana was unearthed on the Palatine Hill. The emperor Caligula had acquired the house for the imperial palace, which, after Caligula died, became used as a Paedagogium (boarding school) for the imperial page boys. Later, the street on which the house sat was walled off to give support to extensions to the buildings above, and it thus remained sealed for centuries.[17] The graffito is today housed in the Palatine antiquarium in Rome.[18]
- The Alexamenos graffito (also known as the graffito blasfemo)[1]:393 is an inscription carved in plaster on a wall near the Palatine Hill in Rome, now in the Palatine Antiquarium Museum. It may be the earliest surviving image of Jesus and is alleged to be among the earliest known pictorial representations of the Crucifixion of Jesus, together with an engraved gem.[2] It is scratched on plaster and was estimated to have been carved c. 200 AD. [3] The image depicts a human-like figure affixed to a cross and possessing the head of a donkey. In the top right of the image is what has been interpreted as either the Greek letter upsilon or a tau cross.[1] To the left of the image is a young man, apparently intended to represent Alexamenos,[4] a Roman soldier/guard, raising one hand in a gesture possibly suggesting worship.[5][6] Beneath the cross is a caption written in crude Greek: Αλεξαμενος ϲεβετε θεον. ϲεβετε can be understood as a variant spelling (possibly a phonetic misspelling)[7] of Standard Greek ϲεβεται, which means "worships". The full inscription would then be translated as "Alexamenos worships [his] God".[7][8][9] Several other sources suggest "Alexamenos worshipping God", or similar variants, as the intended translation.[10][11][12][13] The graffito was discovered in 1857 when a building called the domus Gelotiana was unearthed on the Palatine Hill. The emperor Caligula had acquired the house for the imperial palace, which, after Caligula died, became used as a Paedagogium (boarding school) for the imperial page boys. Later, the street on which the house sat was walled off to give support to extensions to the buildings above, and it thus remained sealed for centuries.[17] The graffito is today housed in the Palatine antiquarium in Rome.[18]
- Greek word for “fish is icthus" and it is acronym for Iesous - Jesus, Christos - Christ, Theou - God’s Uios - Son, Soter - Saviorthe monogram. Although not technically a Christian cross, the Chi-Rho invokes the crucifixion of Jesus, as well as symbolising his status as the Christ.[1]
- The Chi Rho (/ˈkaɪ ˈroʊ/) is one of the earliest forms of christogram, and is used by some Christians. It is formed by superimposing the first two (capital) letters chi and rho (ΧΡ) of the Greek word "ΧΡΙΣΤΟΣ" = Christ in such a way to produce the monogram. Although not technically a Christian cross, the Chi-Rho invokes the crucifixion of Jesus, as well as symbolising his status as the Christ.[1]
- The Chi Rho (/ˈkaɪ ˈroʊ/) is one of the earliest forms of christogram, and is used by some Christians. It is formed by superimposing the first two (capital) letters chi and rho (ΧΡ) of the Greek word "ΧΡΙΣΤΟΣ" = Christ in such a way to produce the monogram. Although not technically a Christian cross, the Chi-Rho invokes the crucifixion of Jesus, as well as symbolising his status as the Christ.[1]
- Crucifix Date: ca. 1150–1200 Geography: Made in Palencia, Castile-León, Spain Culture: Spanish Medium: Corpus: white oak and pine with polychromy, gilding, and applied stones; Cross: red pine, polychromy Dimensions: Overall (cross): 102 1/2 x 81 3/4 in. (260.4 x 207.6 cm) Head: 10 1/4 x 4 in. (26 x 10.2 cm) Span of right arm: 25 3/8 in. (64.4 cm) Span of left arm: 26 5/16 in. (66.8 cm) Right foot–heel to small toe: 3 3/4 in. (9.5 cm) Right foot–heel to big toe: 9 1/8 in. (23.2 cm) Left foot–heel to small toe: 3 1/4 in. (8.3 cm) Left foot–heel to big toe: 9 in. (22.8 cm) Classification: Sculpture-Wood Credit Line: Samuel D. Lee Fund, 1935 Accession Number: 35.36a, b http://www.metmuseum.org/visit/museum-map/galleries/cloisters/002
- The San Damiano Cross is the large Romanesque rood cross that St. Francis of Assisi was praying before when he is said to have received the commission from the Lord to rebuild the Church. The original cross hangs in the Basilica of Saint Clare (Basilica di Santa Chiara) in Assisi, Italy. Franciscans cherish this cross as the symbol of their mission from God. The cross is of a type sometimes called an icon cross because besides the main figure it contains images of other saints and people related to the incident of Christ's crucifixion. The tradition of such crosses began in the Eastern Church and probably reached Italy via Montenegro and Croatia. The San Damiano Cross was one of a number of crosses painted with similar figures during the 12th century in Umbria. The name of the painter is unknown, but it was fashioned around the year 1100. The purpose of an icon cross was to teach the meaning of the event depicted and thereby strengthen the faith of the people.[1] The Byzantine style was common in Italy before Cimabue and Giotto. According to Franciscan tradition, it was while praying before this cross in the chapel of San Damiano, just outside Assisi, that Francis of Assisi received a call to rebuild the Church. When the Poor Clares moved from San Damiano to the Basilica of Santa Chiara in 1257, they took the original San Damiano Cross with them and still guard it with great solicitude. It now hangs in the Basilica over the altar of the Chapel of the Crucifix[2] – a reconstruction of the Church of Saint George, which was torn down to build the Basilica. The crucifix hanging over the altar of the ancient church of San Damiano is a copy. All Franciscans cherish this cross as the symbol of their mission from God to commit our lives and resources to renew and rebuild the Church through the power of Christ. http://en.wikipedia.org/wiki/San_Damiano_cross
- n in many Byzantine reliquary crosses. This work was conceived for instructive purposes, and so is historiated, or encircled with traditional narrative paintings that would be recognized by the common people. The stories told here illustrate many scenes from the life of Mary and Jesus. As the Medieval era began, the manner in which the Church transmitted its message to the faithful took a new turn. In the Roman Catholic Church of the 12th C, the Passion came to dominate the worship, and the story of the crucifixion of Jesus held special appeal in this evangelical culture, preoccupied with mysticism, death and demonic spirits. In Cimabue’s large Crucifix for the Church of San Domenico in Arezzo, a departure is seen from the flat Byzantine traditions. Cimabue was an innovator in representing facial expressions, and his figures were painted with more life-like proportion and shading. Here, he introduces a new feeling of humanity to the Christ figure. In this solemn crucifixion, decorated with lavish ornamental patterns, Jesus is now depicted as the dead Christ, focusing the onlooker’s attention not on the authority of the divine figure but on the suffering of the crucified man. Jesus’ head inclines to the right and sinks into His collarbone, while His knitted brows and tightly-closed lips give His face an expression of great suffering. While Jesus’ hands are painted in a flat, stylized way, a small amount of blood is seen to flow from the wounds in His hands. Cimabue painted the figure’s pelvis far to the left, giving an emotional curve to the whole figure. While still lacking much anatomical detail, protruding stomach muscles are displayed in three horizontal bands. A loincloth now replaces the earlier robe and is emphasized with a subtle play of realistic folds and highlights. Adding to the emotion, the grief shown by the figures of Mary and John at the ends of the crossarm offer a comment on Christ’s suffering, inviting the faithful to join with them in mourning.
- n in many Byzantine reliquary crosses. This work was conceived for instructive purposes, and so is historiated, or encircled with traditional narrative paintings that would be recognized by the common people. The stories told here illustrate many scenes from the life of Mary and Jesus. As the Medieval era began, the manner in which the Church transmitted its message to the faithful took a new turn. In the Roman Catholic Church of the 12th C, the Passion came to dominate the worship, and the story of the crucifixion of Jesus held special appeal in this evangelical culture, preoccupied with mysticism, death and demonic spirits. In Cimabue’s large Crucifix for the Church of San Domenico in Arezzo, a departure is seen from the flat Byzantine traditions. Cimabue was an innovator in representing facial expressions, and his figures were painted with more life-like proportion and shading. Here, he introduces a new feeling of humanity to the Christ figure. In this solemn crucifixion, decorated with lavish ornamental patterns, Jesus is now depicted as the dead Christ, focusing the onlooker’s attention not on the authority of the divine figure but on the suffering of the crucified man. Jesus’ head inclines to the right and sinks into His collarbone, while His knitted brows and tightly-closed lips give His face an expression of great suffering. While Jesus’ hands are painted in a flat, stylized way, a small amount of blood is seen to flow from the wounds in His hands. Cimabue painted the figure’s pelvis far to the left, giving an emotional curve to the whole figure. While still lacking much anatomical detail, protruding stomach muscles are displayed in three horizontal bands. A loincloth now replaces the earlier robe and is emphasized with a subtle play of realistic folds and highlights. Adding to the emotion, the grief shown by the figures of Mary and John at the ends of the crossarm offer a comment on Christ’s suffering, inviting the faithful to join with them in mourning.
- The earliest crucifixion in an illuminated manuscript, from the Syriac Rabbula Gospels, 586 CE
- Sadducees, Pharisees, Zealots, Samaritans, Essenes, Nazareans Garrisons around Temple; Pilgrimage feasts (Passover, Shavuot – Law on Sinai, and Sukkot-harvest festival) Sanhedrin negotiated exemption for Taxes, imperial cult, military service Resistance Considered treasonous Judas: truly betrays Nonviolence in Matthew: “Put your sword back into its place” (Matt 26:52); healed ear (Luke 22:49-51) Mission: Holiness. He forgives them, for they know not what they do. Luke 23:34 Pilate: In Luke, the people are appealing to Pilate’s fear of revoluion; “He stirs up the people” (Luke 23:5). Philo says that Pilate “was a man of inflexible disposition, harsh, and obdurate” (Schürer, 384). Entered Jerusalem with Roman ensigns (flags, etc.), bearing image of Emperor. Massacres, Luke 13:1 and Mark 15:7 reference lives lost. Ordered attack of Samaritans on Mount Gerizim in 36; Vitellius handed Judea to Marcellus. Better to have one man die for all than for the whole nation to die (John 11:45-53; John 18:14) Resurrection is not resuscitation Anti-Jewish? A result of distance from events, and growing animosity in the community. Life is only valuable when given away. This is your cross to bear. Jesus didn’t turn away from the cup of suffering. Self-sacrificing love Giving up life in faithful obedience to God’s will Jesus suffered because he loved us Bear sufferings gladly
- Very different imagination of justice than in the West. . . . Where retributive notions of justice influenced the development of Christianity, Where the righteous were rewarded, and the wicked were punished. This imagination influenced how we came to understand even the cross event: Christ’s crucifixion.