Of all the events in the life of the Jesus Christthe one that most appeals to me is the interest of the agony in the Garden of Gethsemane. Even though the religion is in me don’t be a the modus operandi of and, so, I won’t lead you to any creed, with the usual being in me, the stronger the spirit of a philosophical than theological, I treasure it. It is an admirable religion for the way it starts up for the first time in the area of worldliness, so that we can enter into contact with the spirit, and brindemos that great that it fills the life-giving energy. However, it is not the religion of the spirit, it develops and is resolved. The legs of the spirit, they are long; they walk a lot. Religion is the first road, which is the most obscure, tucked in the middle of a forest. It is the philosophy and drive of the spirit to a path that is heated up by the light of knowledge, and not by faith alone.
The sacred writings present us with the most fascinating part of the religion of the the symbol. The movement of faith requires the believer to embark on the obscurity of the God, who does not know it, but it is, however, one feels in the soul. The symbol is in the dense jungle that grew in the faith. Through him, God has revealed himself, even in the looming of the image. A symbol is a picture that does not tell you what it is, but it should be understood, which adds to the occult, and you’re attracted to him for some much mind-boggling. We love symbols, because they stand for everything that connects us with God.
Thus, there is no religion that will survive without images. Even in buddhism, it even works if the anchor is in the images, symbols, whether gestures, pictures, or words. The catholic church, for example, is very rich in images. The most potent of which is, in my opinion, it is for the first day of the passion Jesus Christ, that is to say, the night in the Garden.
The dramatic episode of the night of Gethsemane in the New Testament, thanks to the testimony of the evangelists-Mark, Matthew, and Luke. The narrative is a continuation of the last supper that Jesus held with the apostles. He speaks in Luke (22:39) as follows: “and they went out, and went, as he was wont, to the mount of Olives; and his disciples also followed him. And when he came to the place, he said to them, ‘pray that ye enter not into temptation.’ And he was withdrawn from them about a stone’s throw; and he put him on his knees, and prayed.” It is in Matthew (26:36), and speaks more-or-less the same thing, with one addition: “then cometh Jesus with them unto a place called Gethsemane, and saith unto the disciples, sit ye here, while I go and pray yonder. And he took with him Peter and the two sons of Zebedee, and he began to be sorrowful and very heavy.”
The gardenin this question[[The Tao Shmanin]it means “the press of oil”, and that is the name of the garden or in the garden, which is located at the foot of the mount of Olives in Jerusalem. When we look at the literal meaning of the word, we come to a first understanding of what Jesus did on that night. As for the oil, the oil that comes out of the oil by means of the press, Jesus was pressed. In advance, well aware of his tragic fate, he turned to the apostles and to the communion, saying, “ye know that after two days is the passover, and the Son of Man will be delivered up to be crucified.” (Matthew 26:2). Also I knew that it would be handed over to the enemy, propelled by the treachery of Judas: “the one who put me on the hand in the dish, the same shall betray me.” (Matthew 26:23).
Ever since the feast, Jesus was being pressed: by the disappointment to find, when among the guests, there is an antidote; and for the anguish of the Garden this represents. If religion is to be absorbed in the symbol, the back of the God is a symbolic act, then, in the evening, that is, the image is paramount in this episode of the passion. In the evening, it is a symbol of darkness, of invisibility of the deep and unpredictable. Jesus, in the position of helpless, to be beaten up on the spits, and blows by the soldiers who come armed with Judas at the front as a guide. Even the so-called “Son of Man”, which is some of the things that are out of your control. Jesus is startled by the shadows, enveloped by the poet, beset, as a criminal, and what’s worse, being thrown to his head in anguish and despair.
So is the relationship between Jesus and the night of the engagement with that which exceeds and that which betrays the weakness, the miseries, and impotências. The genius of philosophy Blaise Pascal (1623-1662), in his book Thoughtsyou declare, “Jesus is in a garden, not of delight like the first Adam, and where he lost, and with it, the whole of the human race, but in a garden of torture, from where you have saved all mankind”. But Pascal realized that, “Jesus is on the Earth, not only to feel and share in your shame, for you have knowledge of it: and the heaven, and he is the only one who has this knowledge.”
The mission of Jesus, and of the fate which makes him the Christ, that is to say, the salvation of the human race, of the burden of original sin, teaching you the way through the word, it should be made in the punishment. Jesus is not only the Messiah, “the prophesied and predizente”; but, according to Pascal, he is the model for all conditions: the “father of his Father, to a brother in his brethren,” the “poor ” in the poor and the rich in the rich, of the sovereign over the rulers”. Indoctrinating the word, however, is different from the live the word for it. Jesus incarnates the word, and this is done painstakingly, because he is the man, by God himself, in the story, among others, “of all the people, and in the us.
The cross is the punishment the more intolerable. He is to be crucified, is a picture of the humiliation of the exile, and death. However, prior to this act, to the night of Gethsemane, preparing for Jesus to address his or her pain, for she is just as anxious and just as iconic. Jesus is seen in humiliation in the face of the weakness of the flesh: “for my soul is full of grief even unto death” (Matthew 26:38). It autoconhece, if you are faced with the essence, to doubtful that it is the printing press, which extracts from it the oil of god. The christ self the the human if you come together in the bends of the knees, on the floor, calling on the God of the impossible, “father, if thou be willing, pass from me this cup; nevertheless not my will, but thine, be done” (Luke 22: 42). God does not turn away from the will of Jesus and fulfill his duty.
The desperation in the face of the certainty of death is bleeding in the spiritual life. Jesus, you see the absurdity, or will be, impotent in the face of the will of god. The harm will fall on him, whether we realize it or not. Your spirit is prepared, and in the pressbut “the flesh is weak” (Matthew 26:41) of The cup that he wants to move away from it, the despair, the knowledge that everything you lived for and fought for will be taken out by the death of a stupid and unfair. You still take on the mission of Jesus thinking and it feels like all the men: do you think death is feared and is not acceptable, as it is a burden that we could be saved.
In the visual arts, some artists have taken with the beauty and gentleness that Jesus pascalino, that is to say, that this saint made of meat more susceptible to poverty and neglect. Since the Renaissance, through the Baroque, the Romanticism, the various painters that contributed to the agony of Jesus in the garden of your torment. So, when we look at the paintings of these artists, you have the imagination of a panel that contains not just one, but several evenings in the Garden.
In the spirit of the Tiziano (1488-1576), which is divided between Renaissance and Baroque, was a great screen Aoraçãonohorto” to illustrate this to perfection, “the passion of the Christ”, which, according to Charles de Condren, “it was not done at Calvary,” “but if you spent the entire in the Garden of Olives, and in the spirit of the lord Jesus christ. He has had more then that on the cross. The canvas of Titian, reinforces this, fill out the palette nicely earthy, scattered on a brown-king. In the space, and Titian has Jesus at the top, insulated and covered with a light-colored, which is lower than in the whole of the composition. At the bottom, in the corner, Titian, surprise, creating suspense, shadows from the soldiers, watching their agony, and set up the boat. Another of the Italian renaissance, Cesari (1568-1640), in “The agony in the garden,” he did not have the same dramatic effect that Titian. He systematized a composition, colorful and bright, where we have seen the pain of Christ in up, and without the stress that causes the greatest emotional appeal.
In the period of Romanticism, even though it was an art style is secular, it is possible to find the three screens of the curious by the differences in their approach to the topic to be a christian. The first one is a picture reference, which is found in the illustrated Bibles. I am talking about the screen, it’s “Christ in the Garden of Gethsemane,” from the German Hoffman (1824-1911), in which we see Jesus absolutely alone, kneeling on the floor of the church and with its abandonment. The famous Goya (1746-1828), offers his version of the genius, let the Christ, and by emphasizing the drama, excitement, unthinkable in Cesari’s or Hoffman’s. In the “Christ in the garden”, and the Spanish shows Jesus-worn, ragged, and her arms open to God, in a plea touching. Even more poignant is “In the garden of Gethsemane”, the screen of the Russian Nykola Ge (1831-1894), marked by the texture of the dark and killed a Jesus, typically, pascalino, or will be, delivered to the all-or-nothing in their existence that is pressed between the human and the divine.