The divine and human in Jesus Christ

I am not, however, addressing myself to the happy possessors of faith, but to those many people for whom the light has gone out, the mystery has faded, and God is dead. For most of them there is no going back, and one does not know either whether going back is always the better way. To gain an understanding of religious matters, probably all that is left us today is the psychological approach. That is why I take these thought-forms that have become historically fixed, try to melt them down again and pour them into moulds of immediate experience. C. G. Jung     

Buddy Christ and Jesus Action Figure

Two diminutive, mass produced statues of Christ, Buddy Christ and Jesus Action Figure seem intended as postmodern anti-Christs to offend Christian sensibilities and mock the image of Christ. I suggest, however, that the statuettes have an excess of meaning that is remaindered as a residual respect for Christ as a spiritual guide, whose enduring political leadership subverts religious hypocrisy. An atheistic/Marxist defence of Christology provides my theoretical base to explore the statuettes, the cult of the Sacred Heart provides an historical example of subversive piety and an editor of the Gay Times' supplies an urgent challenge to reclaim the Christ of Faith as a spiritual and cultural inheritance from the religious right.     

耶稣降生五奏章

我们抚摸到了全能上帝关念世人的普爱,上帝拯救世人从罪恶中得到解放的权能,给世人永生的应许希望。是的,世界是美好的,因为有上帝掌管着。     

Identity with Jesus Christ: The Case of Leon Gabor

From July 1, 1959 to August 15, 1961, Milton Rokeach studied three male patients at Ypsilanti State Hospital who believed that they were Jesus Christ. They met regularly together with Rokeach and his research staff, a procedure designed to challenge their delusional systems. He believed that Leon Gabor, the youngest of the three, would be the most likely to abandon his delusional beliefs. Instead, Leon met the challenges that the procedure posed by creative elaborations of his delusional system, especially through the adoption of a new name that gave the initial appearance of the abandonment of his Christ identity but in fact drew on aspects of the real Jesus Christ’s identity that were missing from his earlier self-representation.     

梵蒂冈艺术品中的阿波罗与耶稣基督

阿波罗神形象发展经历了"自然之神"等三个阶段,代表"光明"与"预言"之神形象的阿波罗才真正显示了"日神"风貌;现存的阿波罗神像中以梵蒂冈博物馆贝尔韦德里宫的阿波罗像最为优美;而米开朗基罗所绘《最后的审判》中的耶稣基督形象,是对此神像形态的原样借用;梵蒂冈艺术中阿波罗神与耶稣基督的这种关联,向我们揭示了古希腊文明在基督宗教中的保存与演变,并启发我们深入探究艺术与神学、人性与神性的关系。