그리스도의 우두머리

Head of Christ
이 기사는 살만의 초상화 그리스도의 우두머리에 관한 것이다. 렘브란트의 동명 그림은 그리스도의 머리(렘브란트)를 참조한다.
그리스도의 우두머리
The Head of Christ by Warner Sallman 1941.jpg
아티스트워너 살만
연도1940

살만 헤드라고도 불리는 그리스도의 우두머리는 미국의 화가 워너 살만(1892~1968)이 1940년 그린 나사렛 예수의 초상화다. 기독교 대중적 일탈 미술의 탁월한 성공작으로서,[1] 20세기 말까지 전세계적으로 5억 번 이상 재현되었다.[2] 교회를 위해 작품의 확대본이 만들어졌고, 그 이미지가 새겨진 작은 주머니나 지갑 크기의 기도카드가 민간이탈용으로 대량 제작됐다.[1][3] 이 그림은 "수억"의 사람들에게 예수의 시각화의 기초가 되었다"고 한다.[4][5]

오리진스

그리스도의 수장은 1924년 '인간의 아들'이라는 제목의 숯 스케치에서 유래하여 복음주의 규약 교회의 분모 잡지 '규약 동반자'의 표지로 팔렸다. Sallman은 여러 해에 걸쳐 이 그림의 변주곡을 완성했으며, 첫 번째 석유판은 1935년부터 복음주의 규약 교회의 50주년 기념일을 기념하기 위한 것이다. 1940년에 그는 북공원신학교 학생들로부터 그 그림을 재현해 달라는 요청을 받았다. 이 복제품은 하나님의 교회(앤더슨)의 출판사인 복음 트럼펫 회사의 대표들이 보았으며, 그는 샐먼의 작품을 시장에 내놓기 위해 크리벨과 베이츠라는 새로운 회사를 만들었다. 그 후 30년 동안 크리벨과 베이츠는 100개 이상의 워너 살만 작품을 시판했다. 크리벨과 베이츠가 해체되면서 이들 작품에 대한 저작권은 워너프레스(Warner Press)에 인수됐다.

침례교 서점은 처음에는 이 그림을 대중화하여 미국 남부 전역에 판매하기 위해 다양한 크기의 석판화상을 배포하였다. 구세군과 YMCA는 미 국방부의 일원으로서 제2차 세계대전 중 해외로 향하는 미군 병사들에게 주머니 크기의 그림을 나누어 주었다. 전쟁이 끝난 후, 오클라호마주와 인디애나주의 단체들은 이 이미지를 사적인 공간과 공공 공간에 배포하기 위한 캠페인을 벌였다. 일리노이 주의 한 루터교도 조직자는 '카드 소지 공산주의자들'[6]의 영향에 대항하기 위해 '카드 소지 기독교인들'이 있어야 한다고 말했다.

특징들

많은 루터교도와 로마 가톨릭 교인들은 그리스도의 머리 이마에 숨겨진 주인과 성전 위에 있는 찬송가 둘 다 성찬을 가리키고 있다.[7] 비슷하게 그리스도의 수장은 복음주의 기독교인들 사이에서도 인기를 끌게 되었는데, 그들은 이 초상화가 '예수의 삶과 죽음, 부활의 연약한 힘'을 강조하기 위한 것이라고 믿었기 때문이다.[8] 듀크 대학의 종교학 교수인 데이비드 모건은 "냉전 기간 동안 많은 기독교인들에게, 살만의 초상화는 남성적이고 남자다운 그리스도를 상징했고, 다른 사람들에게는 현대인의 개인적인 취미인 예수를 더 친밀하고 양육하는 것을 형상화했다"고 말한다."[9]

관련 기적

워너 샐먼은 '한밤 늦게 받은 기적적인 비전'의 결과라고 믿었는데, '그 답은 1924년 1월 새벽 2시에 나왔다'는 것을 '절망된 상황에서 하나님께 드리는 기도에 응답한 비전'[10]이라고 했다.

1991년 백혈병 진단을 받은 텍사스주 휴스턴의 12세 아이작 아유브가 그림 속 예수의 눈이 눈물을 흘렸다는 보도에 이어 콥트 정교회에서도 그리스도의 수장이 존경받고 있다.[11] 이스하크 솔리만 같은 날 휴스턴에 있는 마크의 콥트교회는 "기적을 증명했다"고 밝혔고, 다음 날 "가정주치의인 아테프 리즈칼라 박사가 청소년을 검사해 백혈병 흔적이 없다는 것을 확인했다"[12]고 밝혔다. 포트사이드의 타드로스 주교와 카이로의 유한나 주교의 성공회 인가를 받아 '솔먼의 그리스도의 우두머리'가 콥트교회에 전시되었는데, '5만명 이상의 사람들'이 교회를 찾아갔다.[12]

이밖에도 여러 종교 잡지는 헤드헌터들이 사업가를 놔주고 이미지 카피를 보고 도망치는 모습, '거실 벽에서 그리스도의 머리를 보고 비행을 중단한 사기꾼', 비신앙자의 임종일변화와 같은 사건들을 문서화하며 '살만 그림의 힘'을 설명했다.기독교에 대한 [13]반대

외모

엘부엔 사마리타노 연합 감리교회의 찬틀에는 전통적인 제단 십자가보다는 살만 그리스도의 수장을 크게 베낀 것이 특징이다.[14] 오클라호마시티의 로마 가톨릭 기관인 성 프란치스코 드 세일즈 신학교는 "크게 큰 그리스도의 우두머리에게 교정에 전시해 달라고 요청해 받았다"[15]고 밝혔다. 데이비드 모건에 따르면 그리스도의 수장은 "개신교 교회와 가톨릭 교회 모두에서 여전히 발견되며 모르몬교, 라틴 아메리카, 아메리카 원주민, 아프리카계 미국인 사이에서 애용하는 것을 즐기고 있으며 아프리카, 라틴 아메리카, 아시아, 동유럽의 기독교 가정에도 있다"고 한다."[6]

그리스도의 수장은 옥수수의 아이들(1984년), 정글 피버(1991년), 실버 라이닝스 플레이북(2012년) 등 여러 영화의 장면에 등장했다.[16][17]

참고 항목

참조

  1. ^ a b Lippy, Charles H. (1 January 1994). Being Religious, American Style: A History of Popular Religiosity in the United States. Greenwood Publishing Group. p. 185. ISBN 9780313278952. Retrieved 30 April 2014. Of these one stands out as having deeply impressed itself of the American religious consciousness: the "Head of Christ" by artist Warner Sallman (1892-1968). Originally sketched in charcoal as a cover illustration for the Covenant Companion, the magazine of the Swedish Evangelical Mission Covenant of America denomination, and based on an image of Jesus in a painting by the French artist Leon Augustin Lhermitte, Sallman's "Head of Christ" was painted in 1940. In half a century, it had been produced more than five hundred million times in formats ranging from large-scale copies for use in churches to wallet-sized ones that individuals could carry with them at all times.
  2. ^ Blum, Edward J.; Harvey, Paul (21 September 2012). Color of Christ. UNC Press Books. p. 211. ISBN 9780807837375. Retrieved 30 April 2014. By the 1990s, Sallman's Head of Christ had been printed more than 500 million times and had achieved global iconic status.
  3. ^ Wood, Ralph C. (2003). Contending for the Faith: The Church's Engagement with Culture. Baylor University Press. p. 63. ISBN 9780918954862. Devotional images of a haloed and idealized Jesus—concentrating especially upon his face—thus came into immense vogue. Warner Sallman's Head of Christ and Heinrich Hofmann's Christ in Gethsemane were but the most popular among many hundreds of sentimental images of the Savior.
  4. ^ Lippy, Charles H. (1 January 1994). Being Religious, American Style: A History of Popular Religiosity in the United States. Greenwood Publishing Group. p. 185. ISBN 9780313278952. Retrieved 30 April 2014. There is, of course, no physical description of Jesus in the New Testament or in any other surviving early Christian literature. Yet for hundreds of millions, Sallman's depiction has become the basis for their visualization of Jesus, a Jesus who brings the sacred into the realm of the ordinary.
  5. ^ Prothero, Stephen (15 December 2003). American Jesus: How the Son of God Became a National Icon. Farrar, Straus and Giroux. p. 117. ISBN 9780374178901. During the postwar revival of the 1940s and 1950s, as Protestants and Catholics downplayed denominational differences in order to present a united front against the menace of godless Communism, Sallman's Jesus became far and away the most common image of Jesus in American homes, churches, and workplaces. Thanks to Sallman (and the savvy marketing of his distributors), Jesus became instantly recognizable by Americans of all races and religions.
  6. ^ a b Morgan, David (Summer 2006). "The face that's everywhere". Christian History & Biography. Christianity Today International (91): 11.
  7. ^ Morgan, David (1998). Visual Piety: A History and Theory of Popular Religious Images. University of California Press. p. 131. ISBN 9780520923133. It seems significant that the majority of writers who mentioned the sacramental imagery of chalice and host came from the highly sacramental traditions of Lutheranism and Roman Catholicism (eleven and seven of twenty-two letters, respectively). In both instances, the identity of the elements of the sacrament of the altar with the physical person of Jesus corresponds to the respective doctrines of the sacrament: real presence or transubstantation. A Lutheran clergyman from Indiana referred to the Head of Christ as the "Communion Christ" and wrote that "I remind my first communion class and catechism students that everytime we take communion we meet and see Christ as we have never seen him before" (372). A Passionist nun wrote that the Head of Christ hanging in the parlor of her convent in Japan exhibits the chalice and host and "leads one to love Jesus [who is] always present in the Bread and Chalice of the Eucharist" (380). Thus, the mystery of hidden images in the person of Jesus seems an appropriate metaphor for the mystery of the sacrament of the altar to those Christians who search for a way of expressing the embeddedness of the divine in the matter of the Eucharistic meal and its prototype in the incarnation.
  8. ^ Neal, Lynn S. (2006). Romancing God: Evangelical Women and Inspirational Fiction. Univ of North Carolina Press. p. 179. ISBN 9780807856703. From WWJD bracelets to Warner Sallman's Head of Christ, evangelicalism emphasizes the salvific power of the life, death and resurrection of Jesus, as well as how he experienced the sufferings of humanity while remaining without sin.
  9. ^ Morgan, David (1996). Icons of American Protestantism: The Art of Warner Sallman. Yale University Press. p. 62. ISBN 9780300063424. Morgan explains that for many Christians during the Cold War Sallman's portrait did symbolize a virile, manly Christ, while for others it embodied a more intimate and nurturing Jesus, a personal savior for modern times.
  10. ^ Morgan, David (1996). Icons of American Protestantism: The Art of Warner Sallman. Yale University Press. p. 62. ISBN 9780300063424. Sallman always insisted that his initial sketch of Jesus was the result of spiritual "picturization," a miraculous vision that he received late one night. "The answer came at 2 A.M., January 1924," he wrote. "It came as a vision in response to my prayer to God in a despairing situation." The situation was a deadline: Sallman had been commissioned to paint the February cover for the Covenant Companion, the monthly magazine of the Evangelical Covenant Church, and he had artist's block for weeks. The February issue was focusing on Christian youth, and Sallman's assignment was to provide an inspirational image of Christ that would "challenge our young people." "I mused over it for a long time in prayer and meditation," Sallman recalled, "seeking for something which would catch the eye and convey the message of the Christian gospel on the cover."
  11. ^ Otto F.A. Meinardus, Ph.D. (Fall 1997). "Theological Issues of the Coptic Orthodox Inculturation in Western Society". Coptic Church Review. 18 (3). ISSN 0273-3269. An interesting case of inculturation occurred on Monday, November 11, 1991 when the 12-year-old Isaac Ayoub of Houston, Texas, suffering from leukemia, saw that the eyes of Jesus in the famous Sallman “Head of Christ” began moving and shedding an oily liquid like tears. On the same day, Fr. Ishaq Soliman, the Coptic priest of St. Mark’s Coptic Church in Houston, testified to the miracles. On the following day, Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia. Sallman’s “Head of Christ” was exhibited in the Coptic Church and more than 50,000 people visited the church. Two Coptic bishops, Anbâ Tadros of Port Said and Anbâ Yuhanna of Cairo verified the story.
  12. ^ a b Meinardus, Otto F. A. (17 October 2006). Christians In Egypt: Orthodox, Catholic, and Protestant Communities - Past and Present. American University in Cairo Press. p. 70. ISBN 9781617972621. An interesting case of inculturation took place on Monday, November 11, 1991 when the twelve-year-old Isaac Ayoub of Houston, Texas, suffering from leukemia, saw that the eyes of Jesus in the famous Sallman "Head of Christ" began moving and shedding an oily liquid like tears. On the same day, Father Ishaq Soliman, the Coptic priest of St. Mark's Coptic Church in Houston, testified to the miracles. On the following day, Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia. Sallman's "Head of Christ" was exhibited in the Coptic Church and more than fifty thousand people visited the church. Two Coptic bishops, Bishop Tadros of Port Said and Bishop Yuhanna of Cairo, verified the story.
  13. ^ Morgan, David (1996). The Art of Warner Sallman. Yale University Press. p. 192. ISBN 9780300063424. Articles published in popular religious magazines during this time gathered together in an obviously didactic way several anecdotes concerning the power of Sallman's picture among nonwhites, non-Christians, and those exhibiting unacceptable behavior. We read of a white businessman, for instance, in a remote jungle, assaulted by a vicious group of headhunters who demand that he remove his clothes. In going through his billfold, they discover a small reproduction of Sallman's Christ, quickly apologize, then vanish "into the jungle without inflicting further harm." A second article relates the story of the thief who aborted his misdeed when he saw the Head of Christ on a living room wall. Another tells of the conversion of a Jewish woman on her deathbed, when a hospital chaplain shows her Sallman's picture.
  14. ^ Barton, Paul (1 January 2010). Hispanic Methodists, Presbyterians, and Baptists in Texas. University of Texas Press. p. 67. ISBN 9780292782914. A large copy of Sallman's Head of Christ hung in place of the cross at the front of the sanctuary of El Buen Samaritano Methodist Church in Albuquerque, New Mexico.
  15. ^ Blum, Edward J.; Harvey, Paul (21 September 2012). Color of Christ. UNC Press Books. p. 211. ISBN 9780807837375. Retrieved 30 April 2014. A new Catholic seminary in Oklahoma City requested and received a gigantic Head of Christ to display on campus.
  16. ^ Morgan, David; Promey, Sally M. (2001). The Visual Culture of American Religions. University of California Press. p. 38. ISBN 9780520225220. Retrieved 30 April 2014. and re-presenting the exhibition of pictures or objects in video formats that include both time and motion (for example, the appearance of a print version of Warner Sallman's 1940 Head of Christ in Spike Lee's 1991 film, Jungle Fever).
  17. ^ Blum, Edward J. (11 September 2013). "Silver Linings Jesus". The Christian Century. Retrieved 30 April 2014. But one constant amid the family chaos is a framed image of Jesus. You’ve probably seen this one before. It is Warner Sallman’s Head of Christ, that white, blue-eyed, long-haired Jesus who looks into the distance. Since first marketed in the 1940s, it has become the most reproduced depiction of Jesus on the globe. In Silver Linings Playbook, Jesus resides on a wall in the family room, a common phenomenon that art historian David Morgan found when he examined placements of Jesus in 1950s and ‘60s America.

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