Post by Entendance on Mar 31, 2024 0:26:15 GMT -5
Easter Day: Resurrection Of Our Lord Jesus Christ
Up from the Grave He Arose!
Up from the Grave He Arose!
Early on the first day of the week, while it was still dark, Mary Magdalene came to the tomb and saw that the stone had been removed from the tomb. So she ran and went to Simon Peter and the other disciple, the one whom Jesus loved, and said to them, "They have taken the Lord out of the tomb, and we do not know where they have laid him." Then Peter and the other disciple set out and went toward the tomb. The two were running together, but the other disciple outran Peter and reached the tomb first. He bent down to look in and saw the linen wrappings lying there, but he did not go in. Then Simon Peter came, following him, and went into the tomb. He saw the linen wrappings lying there, and the cloth that had been on Jesus' head, not lying with the linen wrappings but rolled up in a place by itself. Then the other disciple, who reached the tomb first, also went in, and he saw and believed; for as yet they did not understand the scripture, that he must rise from the dead. -John 20:1-9
Since, then, you have been raised with Christ, set your hearts on things above, where Christ is, seated at the right hand of God. Set your minds on things above, not on earthly things.
Since, then, you have been raised with Christ, set your hearts on things above, where Christ is, seated at the right hand of God. Set your minds on things above, not on earthly things.
For you died, and your life is now hidden with Christ in God!
When Christ, who is your life, appears, then you also will appear with him in glory. -Colossians 3, 1-4
May the light of the Resurrection always illuminate your path toward righteousness. Christ always warms you in good deeds.
Let’s join forces in the name of creative works in ending wars and conflicts for whatever reasons there may be, wherever they may occur, and help deliver peace to humanity.
Let’s join forces in the name of creative works in ending wars and conflicts for whatever reasons there may be, wherever they may occur, and help deliver peace to humanity.
E' Pasqua!
Il primo giorno della settimana, Maria di Màgdala si recò al sepolcro di mattino, quando era ancora buio, e vide che la pietra era stata tolta dal sepolcro.
Corse allora e andò da Simon Pietro e dall’altro discepolo, quello che Gesù amava, e disse loro: «Hanno portato via il Signore dal sepolcro e non sappiamo dove l’hanno posto!».
Pietro allora uscì insieme all’altro discepolo e si recarono al sepolcro. Correvano insieme tutti e due, ma l’altro discepolo corse più veloce di Pietro e giunse per primo al sepolcro. Si chinò, vide i teli posati là, ma non entrò.
Giunse intanto anche Simon Pietro, che lo seguiva, ed entrò nel sepolcro e osservò i teli posati là, e il sudario – che era stato sul suo capo – non posato là con i teli, ma avvolto in un luogo a parte.
Allora entrò anche l’altro discepolo, che era giunto per primo al sepolcro, e vide e credette. Infatti non avevano ancora compreso la Scrittura, che cioè egli doveva risorgere dai morti. -Gv 20,1-9
Fratelli, se siete risorti con Cristo, cercate le cose di lassù, dove è Cristo, seduto alla destra di Dio; rivolgete il pensiero alle cose di lassù, non a quelle della terra.
Voi infatti siete morti e la vostra vita è nascosta con Cristo in Dio!
Corse allora e andò da Simon Pietro e dall’altro discepolo, quello che Gesù amava, e disse loro: «Hanno portato via il Signore dal sepolcro e non sappiamo dove l’hanno posto!».
Pietro allora uscì insieme all’altro discepolo e si recarono al sepolcro. Correvano insieme tutti e due, ma l’altro discepolo corse più veloce di Pietro e giunse per primo al sepolcro. Si chinò, vide i teli posati là, ma non entrò.
Giunse intanto anche Simon Pietro, che lo seguiva, ed entrò nel sepolcro e osservò i teli posati là, e il sudario – che era stato sul suo capo – non posato là con i teli, ma avvolto in un luogo a parte.
Allora entrò anche l’altro discepolo, che era giunto per primo al sepolcro, e vide e credette. Infatti non avevano ancora compreso la Scrittura, che cioè egli doveva risorgere dai morti. -Gv 20,1-9
Fratelli, se siete risorti con Cristo, cercate le cose di lassù, dove è Cristo, seduto alla destra di Dio; rivolgete il pensiero alle cose di lassù, non a quelle della terra.
Voi infatti siete morti e la vostra vita è nascosta con Cristo in Dio!
Quando Cristo, vostra vita, sarà manifestato, allora anche voi apparirete con lui nella gloria. -Col 3,1-4
Hæc est victoria, quæ vincit mundum: fides nostra. E così sia.
Eugène Burnand 1850 – 1921 Peter and John Running to the Tomb oil on canvas (82 × 134 cm) — 1898 Musée d'Orsay, Paris.
The full title is The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection. It is Burnand's best-known work. The French state acquired it when it was shown at the Salon de de la Société nationale des beaux-arts in 1898.
The work does not even show the risen Jesus. It merely portrays two witnesses, Jesus’ oldest and youngest apostle. The youngest who was the only man brave enough to stay by Jesus’ cross and the only one who did not die a martyr’s death as a result of it. The oldest apostle who first denied Jesus in fear, yet ultimately chose to be crucified upside down by the Roman authorities rather than deny Christ’s resurrection.
In “The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection” by Eugène Burnand, John clasps his hand in prayer while Peter holds his hand over his heart. The viewer feels the rush as their hair and cloaks fly back with the wind. They are sprinting towards discovery of the moment that forever altered heaven and earth. As you look at it, engage for a moment in what the Catholic blogger Bill Donaghy calls “the visual equivalent of Lectio Divina.” As Donaghy notes, “This Resurrection scene does not put us before still figures near a stagnant stone, or figures standing with stony faces in a contrived, plastic posture, pointing to an empty tomb. This scene is dynamic; we are in motion.”
During his time, Burnand was fascinated by the possibilities of the emerging art of photography. Ironically, he would later be dismissed in the twentieth century as too “bourgeois” and anti-modernist when in fact he was merging his love of tradition with his interest in new technological ways of capturing the human person. His painting feels cinematic long before cinema existed as a major art form.
Apart from Jesus’ mother, no other three participants capture the closeness of Jesus’ encounter with humankind quite like John, Peter and Mary of Magdala. Their interactions with Christ embody a relationship to God previously unimaginable to mankind. Jesus turning to Peter as they sit by the fire and asking three times, “Do you love me?”, thereby washing away the sin of the three denials past; Christ turning to John in the midst of his suffering and saying, “Behold, your mother,” giving her to the Church entire. And, of course, the beautiful moment about to transpire in which Jesus’ merely says Mary’s name and she recognizes Him with a cry of “Rabbouni!” They are the moments which cause one to wonder how those who truly hate Christianity (not merely disbelief it) can remain so hostile to its narrative beauty.
Look into Peter’s wide open eyes and John’s intense gaze. Their eyes contain a mix of anxiousness and hope, the way a parent or grandparent’s eyes look at the news of an impending birth. A new life is about to emerge, but there is still uncertainty because it is a mystery beyond full human comprehension or control. Peter and John’s faces capture the same sense of anticipation.
Burnand created a sparse, simple painting capturing two of the most important players in the greatest story ever told. Meditate upon their faces as Burnand intended you to do and through them discover the empty tomb.
Through the movement and immediacy of the scene, the preceding minutes with Mary Magdalene are palpable. In a sense, she is in the painting too. “You can almost hear her voice in the background, can you not, a few minutes earlier, as she burst into their house…” writes the Episcopal Bishop Dorsey McConnell in an Easter sermon meditating on the painting. -Elise Ehrhard
The full title is The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection. It is Burnand's best-known work. The French state acquired it when it was shown at the Salon de de la Société nationale des beaux-arts in 1898.
The work does not even show the risen Jesus. It merely portrays two witnesses, Jesus’ oldest and youngest apostle. The youngest who was the only man brave enough to stay by Jesus’ cross and the only one who did not die a martyr’s death as a result of it. The oldest apostle who first denied Jesus in fear, yet ultimately chose to be crucified upside down by the Roman authorities rather than deny Christ’s resurrection.
In “The Disciples Peter and John Running to the Sepulchre on the Morning of the Resurrection” by Eugène Burnand, John clasps his hand in prayer while Peter holds his hand over his heart. The viewer feels the rush as their hair and cloaks fly back with the wind. They are sprinting towards discovery of the moment that forever altered heaven and earth. As you look at it, engage for a moment in what the Catholic blogger Bill Donaghy calls “the visual equivalent of Lectio Divina.” As Donaghy notes, “This Resurrection scene does not put us before still figures near a stagnant stone, or figures standing with stony faces in a contrived, plastic posture, pointing to an empty tomb. This scene is dynamic; we are in motion.”
During his time, Burnand was fascinated by the possibilities of the emerging art of photography. Ironically, he would later be dismissed in the twentieth century as too “bourgeois” and anti-modernist when in fact he was merging his love of tradition with his interest in new technological ways of capturing the human person. His painting feels cinematic long before cinema existed as a major art form.
Apart from Jesus’ mother, no other three participants capture the closeness of Jesus’ encounter with humankind quite like John, Peter and Mary of Magdala. Their interactions with Christ embody a relationship to God previously unimaginable to mankind. Jesus turning to Peter as they sit by the fire and asking three times, “Do you love me?”, thereby washing away the sin of the three denials past; Christ turning to John in the midst of his suffering and saying, “Behold, your mother,” giving her to the Church entire. And, of course, the beautiful moment about to transpire in which Jesus’ merely says Mary’s name and she recognizes Him with a cry of “Rabbouni!” They are the moments which cause one to wonder how those who truly hate Christianity (not merely disbelief it) can remain so hostile to its narrative beauty.
Look into Peter’s wide open eyes and John’s intense gaze. Their eyes contain a mix of anxiousness and hope, the way a parent or grandparent’s eyes look at the news of an impending birth. A new life is about to emerge, but there is still uncertainty because it is a mystery beyond full human comprehension or control. Peter and John’s faces capture the same sense of anticipation.
Burnand created a sparse, simple painting capturing two of the most important players in the greatest story ever told. Meditate upon their faces as Burnand intended you to do and through them discover the empty tomb.
Through the movement and immediacy of the scene, the preceding minutes with Mary Magdalene are palpable. In a sense, she is in the painting too. “You can almost hear her voice in the background, can you not, a few minutes earlier, as she burst into their house…” writes the Episcopal Bishop Dorsey McConnell in an Easter sermon meditating on the painting. -Elise Ehrhard