Explainer
Creed
Easter
Resurrection
5 min read

Beyond immortality there’s restoration

The resurrection strikes at the heart of the cold reality of the human condition.

Barnabas Aspray is Assistant Professor of Systematic Theology at St Mary’s Seminary and University.

A fine art painting depicts a risen Jesus hold a flag in one hand and raising his other hand above his head, against a dark background
Caravaggio's The Resurrection, detail.
Art Institute of Chicago, Public domain, via Wikimedia Commons.

No one on the planet can pretend not to care about death or about a way to overcome it. The heart of the Christian message is that death has been overcome. This isn’t just about immortality. It’s about Resurrection: the triumph of life over death. If we want to see why that matters we need first to face the reality of death squarely and without flinching. The best person to help us do that is Martin Heidegger.  

It is unfortunate that one of the most influential philosophers of the twentieth century is also among the hardest to understand. There are even philosophy professors who avoid Heidegger’s work and refuse to talk about it (his associations with Nazism and antisemitism don’t help either). Yet for all that, his fame and influence continue unabated. Why? Perhaps it is due to the bold way he points to realities at the heart of the human condition. Realities like death.  

Nobody can avoid death. No matter how rich, healthy, successful, or famous you are, death comes to you as it came to everyone before you. 

If you dare to open Heidegger’s most renowned work, Being and Time, you will find a description of human existence as being-towards-death. What on earth does that mean? It starts with Heidegger’s claim that time is part of our very essence. We are time-bound beings. And the way in which we are time-bound has a direction: the future. Anxiety about the future constitutes our existence. We never stop being anxious: about where our lives are going, whether we will achieve our goals and dreams, whether our loved ones will be safe and happy, even (for some) whether we will survive another day. Only the most downtrodden and dehumanised in society have lost this forward-looking drive. The rest of us live most of our lives in our own projected future. Earning money, getting engaged, buying a house, getting a secure job, raising children: almost everything we do is future-oriented. 

Yet our ultimate future faces us all as a horrifying reality we can’t avoid, that we spend most of our lives trying to ignore. We are all going to die. 

Nobody can avoid death. No matter how rich, healthy, successful, or famous you are, death comes to you as it came to everyone before you. The greatest emperors, the wealthiest entrepreneurs, and the most famous superstars in literature, music or art have no advantage over the lowliest peasant. Death is the great leveller. And what of all that achievement then? What does it mean?  

Death puts an end not only to ‘worldly’ ambitions like the above, but also to more meaningful pursuits like love, family, and relationships. Whoever you love will die too. This was the terrible truth that the Russian novelist Leo Tolstoy learnt. After decades of promoting family as the true meaning of life, he realised that he was simply passing the buck to the next generation. Unless each individual life had its own meaning, he had nothing to offer his children: like him they would end their lives six feet under the ground. He could neither stop them from dying nor give them a meaning to their lives that outlasted their death. 

Heidegger said we should spend more time in graveyards. He believed that facing the inevitability of our death would make us live more authentic lives. No doubt he was right. But wouldn’t something else change how you lived your life? Namely, if you believed death was not the end? 

There’s a point being made here that goes far beyond immortality: it is about the restoration of life by the author of life who defeated death. 

The Christian tradition is founded on an event with a unique promise. Christians claim that Jesus defeated death by dying and rising again. This means that even though we still die we will one day rise with him and never die again. There is no greater hope on offer. Nothing could be more relevant, more urgent, more meaningful than this central Christian claim. It is equally relevant to someone gasping for breath on a sinking ship and to someone bursting with health in the prime of life.  

If Heidegger is right, the Christian message strikes at the heart of the most horrifying and cold reality of the human condition. The event of the Resurrection has the power to transform every anxious future-oriented human being facing their inevitable death. The reality is cold and horrifying no more. Jesus’ death broke the curse of death and robbed it of its power. If we follow him in dying, we will also follow him in rising. Just as Jesus rose again (and because Jesus rose again), we will rise again one day and death will be no more. 

But is the Christian claim really unique? Don’t other religions believe in life after death? 

Not like this. Not bodily resurrection. We must not confuse the Christian claim with a general belief in immortality, though that is an essential part of it. Other religions hold that our souls continue after death. Some teach reincarnation, an endless cycle of birth and death. But there’s something more to the Christian claim. The Gospel accounts tell that Jesus died and was buried in a tomb. If all Jesus wanted to prove was that the spirit outlives the body, then his body could have remained in the tomb. No big deal: it’s just a dead body. His ghost could have still wandered around and appeared to people. 

All four Gospel accounts begin their scandalous news with the inability to find Jesus’ dead body. Three days after he dies, the women go to his tomb, and the tomb is empty. When the risen Jesus appears to the disciples, he takes pains to prove he is not a ghost. He invites them to touch him. He eats breakfast with them. He walks among them as flesh-and-blood. There’s a point being made here that goes far beyond immortality: it is about the restoration of life by the author of life who defeated death. 

That’s why the Christian teaching on immortality is unique: because immortality is just the beginning. It’s about far more than that. It’s about restoration to life in the world God made: the bodily world in which we live. God created it. He doesn’t want us to leave it after we die. He wants us still to live in it. Jesus’ death empowered us so that we can live in it forever.

Article
Art
Creed
5 min read

How the Creed connects us to a bigger history

Faint shadows in literature and dawning art give glimpses of greater things.

Susan is a writer specialising in visual arts and contributes to Art Quarterly, The Tablet, Church Times and Discover Britain.

Painting of hand of God touching hand of Adam.
Sistine Chapel ceiling detail.
Michelangelo, Public domain, via Wikimedia Commons.

Singing the Nicene Creed on Sundays in Latin, a language I do not understand, does not detract from its meditative power. Admittedly not reading music, means attempts to pin the syllables to the blobs on the stave part company with the sounds of the choir and congregation, around the time we turn the sheet over, at ‘sedet ad dexteram Patris’. Sometimes I get back on track by ‘qui locutus est per prophetas’, and sometimes I wait until Amen. Either way it is a meditative experience, on a different level to day-to-day information processing. 

Even in a first language the Creed’s surface is oblique for the modern mind. This initial impenetrability accounts for why, outside the Church, celebrations for the Creed’s 1700th anniversary are niche.  

BBC Radio 4 is running a six-part series Lent Talks, with thinkers and theologians expanding on aspects of the text through personal experience.  

In the first episode theologian Frances Young perceived God’s almightiness in caring for her son Arthur, who was born with profound, life-limiting disabilities. Arthur’s presence in Young’s later-life, ordained ministry, underlined how almightiness is experienced through gentleness: “A hidden, elusive Loving and redeeming presence, gently transforming everything through sheer grace.”  For astrophysicist and theologian David Wilkinson, contemplating ‘That God made all things seen and unseen’, validated science as a Christian endeavour. Wilkinson recalled uncharacteristically hugging a fellow astrophysicist on a Durham street in 2015, at the news of the first direct observation of gravitational waves. The observation captured the earth moving a fraction due to a ripple in spacetime. Incremental glimpses of the workings of the universe serve as stepping stones to fully appreciating creation, and the awe of our place in it. 

Glimpsing a part of a concealed whole, leading to the understanding of greater things, features throughout the Bible. In the King James version of Hebrews we learn: “Who serve unto the example and shadow of heavenly things”. More modern translations use ‘copy’ instead of example. Endeavours on earth, done in the right spirit, can serve as a foretaste or shadow of heaven, of eternal life.  

While the language of the King James Bible offers all things to all men and is woven through literature, the Nicene Creed’s presence is scant. 

As a literary device, a part serving for the whole, or foreshadowing future events works in drama or poetry, but in novels there is less to see. Rectory-raised Jane Austen would have heard the Creed throughout her church going life, but church service scenes are missing from her fiction. Charles Dickens’ faith journey from criticising the established Anglican church of the mid-nineteenth century, to exploring Unitarianism, make the absence in his novels of the Creed, with its centrality of the Trinity, of a piece with his spiritual outlook. Raskolnikov’s glimpse of an icon in the pawnbroker’s home in Crime and Punishment, points to Dostoevsky’s greater ease with fragments momentarily illuminating the bigger picture: ‘in the corner an icon-lamp was burning before a small icon’. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief

Visual art's capacity for rendering the invisibility of the past, the distant, the imagination and the metaphysical, make it a more likely medium for extending the Creed beyond the walls of the church. 

In 1541 Pope Paul III allegedly fell to his knees in wonder in the Sistine Chapel, at the presentation of Michelangelo’s Last Judgement fresco on the altar wall. Michelangelo’s unorthodox, for the times, meditation on personal salvation depicted a cowering Virgin Mary, a beardless Christ, an unbiblical, pointy-eared Charon, the ferryman in Greek mythology, appearing in the underworld, and cascades of nude bodies tumbling towards their eternal fate. By the late1550s Michelangelo’s friend Daniele de Volterra was ordered to paint draperies on some of the naked figures, to correct indecencies. But the devout Michelangelo’s personal vision of the Creed’s ‘judge the quick and the dead’, had already been copied by numerous artists since its unveiling. Giulio Bonasone’s engraving, after Michelangelo, The Last Judgement, 1546, is just one example of the Renaissance artist’s contemplation of ‘the life of the world to come’, as he entered his seventh decade, taking flight into the wider world. 

Modern artists also offer transcendent moments of faith gesturing towards an overarching framework of belief. In turn of the century France, as the country underwent a Catholic revival, Gwen John was one of many artists working on making modern art full of religious meaning. Conventional paintings of the Annunciation show Mary with the Angel Gabriel, with the white-robed angel, spreading their wings. Drawing on her friend Rainer Maria Rilke’s poem Annunciation (Words of the Angel), John created an Annunciation scene, with no visible angel. In Girl Reading at the Window, 1911, a young woman in contemporary dress, is illuminated by light coming through the window, as is the white lace curtain, gently blowing out to touch her dress. Setting aside the expected haloes and wings, John brings to life the Creed’s teaching ‘was incarnate of the Holy Ghost and the Virgin Mary’. 

A dawning realisation heralding a far greater truth is also apparent in Emil Nolde’s Paradise Lost, 1921. In bright, unnaturalistic, colours and in a heavily outlined, naïve style, Nolde catches Adam and Eve’s expressions, as the full consequences of their banishment from Eden become apparent. A moment in time indicates the long road ahead to the promised world of the Creed. 

At the height of the Cold War in 1971, nearly three million Soviet citizens went to see Andrei Tarkovsky’s epic portrait of medieval icon painter Andrei Rublev, five years after the film’s original release. Despite censorship, monochrome projection and no posters advertising the screenings, people found a way to engage with a depiction of belief, creativity and a search for meaning, set against the viscerally brutal backdrop of Tartar pillaged,1400s Russia. 

In an age of Netflix narratives and individualism, connecting with the collective wisdom of churchmen in Constantinople from 1700 years ago can, unavoidably, feel like a stretch. But like the best art, the Creed offers the chance to step out of time, braiding us into us into the faith and vision of others, in ways none of us can understand. 

 

Listen to the BBC Lent Talks

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