Servant of the Suffering

Servant of the Suffering Commentary by Qu Yi Cite Share Show Bible Passage Read by Ben Quash Just as there were many who were astonished at him—so marred was his appearance, beyond human semblance, and his form beyond that of mortals (Isaiah 52:14 NRSV) This panel was one of twelve that were painted by Hans Holbein the Elder in around 1500. They were part of a larger altarpiece, and represent the story of the Passion of Christ. The one shown here (ninth in the sequence) depicts the Pensive Christ. Christ is located at the centre of the picture, sitting on a large cross that has fallen to the ground. His head is supported by his hand and is crowned with thorns. The rays of the sacred halo around his head seem like additional spikes, threatening further piercing. His face and body are covered with blood, which has left traces on the ground. The people around him—some in full armour—humiliate him and prepare torture instruments—ropes, hammers and nails. Compared with these figures, this suffering Servant of God is weak, haggard, and his drooping eyes are full of sadness, disappointment, pain, and loneliness—so marred is his appearance. None of the four Gospels mentions Jesus in contemplation before being crucified and so the Pensive Christ shows Jesus in an imagined moment. In fact, the image-type seems to originate in pilgrim reports about, descriptions of, and meditations on the Via Dolorosa, which provide creative elaborations on the accounts of the Passion of Jesus provided in the Gospels (Surmann 1991). The theme of the Pensive Christ (often referred to as Christ on the Cold Stone) became popular in the field of visual arts in the early sixteenth century. Sculptures and paintings show Jesus turning inwards as external events threaten to overwhelm him, stressing the full humanity of the Saviour. He becomes a suffering servant, one marred and beyond the reach of the compassion of humanity. Yet his stillness and poise convey the power of religious silence, inviting the spectator to enter into contemplation in imitation of him. References Ulrike Surmann. 1991. Christus in der Rast (Frankfurt am Main: Liebieghaus)