Jesus as an Icon: The Man of Sorrows












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            * Jesus as an Icon: The Man of Sorrows
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            As we approach Easter weekend we are reminded, whether we wish to be or not, of the passio

            narrative. We are told about the great sacrifice Christ made for us, and the story behind 
            surface Vincent Gillespie’s lecture on the ‘Man of Sorrows’ fits perfectly into the season
            Gillespie’s take on the Man of Sorrows gives this narrative another dimension.

            Oxford University lecturer Vincent Gillespie’s informative and compelling lecture is the s
            ‘Medieval Conceptual Conflicts and Contrasts: Text and Image’ lecture series. This series 
            lectures from an array of academics from England, Norway and Austria as well as our own Fa

            The topics range from Geometry and Diagrams and Catherine of Alexandria to the Antichrist,
            acutely focused on the relationship between text and image within the medieval period. The

            place on Wednesdays from 17:30 until 19:00 in the Faculty of Arts building, and are open t
            interested in widening their knowledge of the nuanced and complicated ways in which mediev
            communicated and expressed itself.

            Vincent Gillespie is a Professor of English literature and language at Oxford University, 
            highly praised when introduced by Professor Jan Čermák, who did not hold back in telling t
            Gillespie’s contribution to English medieval literature studies which in his words, “stand

            of his mere intellectual joy and the shrewd original perspective he offers.” It is clear t
            indeed possesses this talent to illuminate original and compelling truths in a way that is
            engaging to his audience, his style of lecturing was thoughtful and informative as well as

            humorous.
            When you enter a church you are likely to come face to face with a large depiction of Chri
            performing his final act of sacrifice for his people. However, if you decide to look aroun

            further, you might find another depiction of Christ, which doesn’t quite fit into this nar
            figure, the Man of Sorrows, was and is a significant iconographical motif that is widespre
            Europe. Gillespie argues that fundamentally the Man of Sorrows embodies the “paradox of su

            salvation that is fundamental to Christianity.”
            The lecture slides take us through various depictions of this Man of Sorrows, with example
            Europe, and we are faced with the same image: a bloodied, dejected and suffering Christ. W

            and he is, in Gillespie’s words, “exsanguinated, he has poured himself out for mankind.” O
            are gory, blood leaking out of all his wounds, and they are clearly depicted in order to m
            impression on its viewers. We are to comprehend and empathize with this pain, these images

            Christ’s sacrifice, are to imprint on our brains.
            So what is so unique about this specific image of Christ? We have to return now to the sea
            The Man of Sorrows is intrinsically linked to the passion of Christ narrative, but simulta

            disjointed from it. This is not the Christ from this narrative, this is Christ placed in a
            of time. The Man of Sorrows is not a resurrection Christ, nor is it Christ on the cross, t
            out of time, there’s no context or imagery or landscape or setting, simply the image of Ch

            intended, Gillespie maintains, to be iconic and schematic, it is ‘‘aspiring to the conditi
            that imprints itself on your memory.” Though Christ has clearly sustained his wounds alrea
            aren’t supposed to know or understand where in history this image sits. The ambiguity of t

            its standalone properties create a timeless image and becomes a blank surface for ideas to
            and projected on. It is for this reason that the Man of Sorrows has become an iconic figur
            imagery.

            Fitting in well with the general theme of this lecture series, Gillespie introduces anothe
            of the image. The five main and iconic wounds, he argues, can be seen as the five vowels w
            injuries (lacerations from whipping, crown of thorns etc.) act as the consonants. For the 

            conjunction between the vowels and consonants create an image as well as allows for a proj
            own theological imagination. On the other hand, the illiterate are able to understand the 
            for the image through the image itself. The Man of Sorrows works because all who see it un

            message.
            To further this connection between text and image Gillespie informs us of the hand the Man
            played in the rise of chivalric notions as well as literature and stories. We are drawn to

            amore langeuo’, which depicts Christ sitting under a tree displaying his wounds to mankind
            soul will not look at him as he is running around the “valley of restless mind.” This is i
            that is transposed into a courtly environment, the kingly wooer who can not get the reluct

            take him plays into the Chivalric trope of the wooing of a reluctant woman, creating an al
            resurrection story.
            The Man of Sorrows is gory, abject and uncomfortable, but as Gillespie has expertly inform

            lecture, there is much more significance and weight to this image. If you are ever to be c
            an image, take a moment to perhaps take in the transcendence and importance of its context

                                                                                                      
            Clara Meinerts is currently studying English and American literature at the University of 
            for iForum. She also relishes any opportunity to take part in her host University life. He