格呂瓦德－十字架上的榮耀之美

Grunewald: The Glory of the Cross

沙湄(SHA Mei)

《道風：基督教文化評論》 18期 (2003/01) Pp. 249-290+320-321

並列摘要

In terms of the possible greatness and the power of Christian art, especially in terms of the profound revelation of the eternal dialectic between the suffering and the glory, if there is one name in visual art that can be equated with I .S. Bach in music and Dostoyevsky in literature, it should be Mathis Grünewald. Grünewald, the favourite Christian painter of Karl Barth and Paul Tillich, was a most outstanding exception of the Renaissance. In hi s masterpiece Isenheim Altarpiece, unlike most of his contemporarie s who dedicated to the reviving of classical principle of profane beauty, Grünewald revived the great pious mind of the Middle Ages at its most ecstatic extreme and indicated the spirit of the Reformation prophetically. This essay examines Grünewald's Isenheim Altarpiece through the following approaches: the artist's life, analyse of his main works , orientation in both the hi story of Christian thought and the hi story of visual art, the religious tradition of mysticism and passion in the 15-and-16^(th) century Germany, the hospital context of the Altarpiece Revealing the theological dimension in Grünewald's works, it manifests so much recondite divine truth (such as an adequate Christology which was strongly supported by Karl Barth) that verbal theology may contain but cannot impress its reader with such an impact. This excellent paradigm proves that religious visual art is not only a narrative assistant of the scripture or the dogma, but al so an extra theological expression.