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Staurós» Teología De La Cruz STAURÓS TEOLOGÍA DE LA CRUZ Número 51 1 2012 «STAURÓS» TEOLOGÍA DE LA CRUZ Presentación La Pasión de Cristo en el Arte D. José María Martínez Frías. La Hermosura de Cristo Crucificado. A propósito de un paso de san Efrén, Hymnus de fide 82,11-13 D. Patricio de Navascués. Los Lugares de la Pasión de Jesús en la Actualidad P. Luis Díez Merino, C.P. Discernimiento Cristiano del Sufrimiento Javier Garrido. Número 51 2012 1 Secretario: JOSÉ LUIS QUINTERO Consejo de redacción: PABLO GARCÍA MACHO. LUIS DIEZ MERINO. ANTONIO Mª ARTOLA. JESÚS Mª ARISTÍN LAURENTINO NOVOA. TXEMA ARZALLUZ. Publica: Asociación Internacional Staurós Dirección del secretario Ibéro–Iberoamericano, Comunidad Pasionista C/ Arte, 4. – Fax. 91 766 97 52 – Tlfno. 91 302 06 07 28033 Madrid C/ Leizarán, 24. 28002 Madrid Tlfno. 91 563 50 68 E–mail:[email protected] Imprime: Creaciones Gráficas EMERGRAF S.L. C/ Avda. de la Fuente Nueva,8 – Nave,7 – Tel. 91 652 02 47 – Fax. 91 652 02 47 28700 San Sebastian de los Reyes (Madrid). Depósito legal: MA–1222–1987 Publicación anual sin fines de lucro, financiada por «Staurós International Association», con sede en Kortrijk, Bélgica, y con la aportación voluntaria de sus lectores. 2 PRESENTACION La confesión de fe en Jesucristo muerto y resucitado concentra y expande la exis- tencia cristiana. El acontecimiento de su muerte y resurrección es acto trinitario: Obra del Padre en su amorosa voluntad salvífica para con toda la humanidad; se realiza por el Hijo que asumiendo libre y solidariamente nuestra humanidad hace suya nuestra historia rehaciéndola en su libertad y dignidad; y es obra del Espíritu haciéndose donar como fruto de amor y nueva existencia. El apóstol Pablo personaliza esta acción de Dios convirtiendo su afirmación de fe en la raíz del amor y de la esperanza: Vivo de la fe en el Hijo de Dios que me amó y se entregó a sí mismo por mi (Gál.2.20). El horizonte del creer se convierte así en una nueva relación que suscita una nue- va existencia. La universalidad e inmensidad del acontecimiento de Dios Amor hace pie y toma carne en la humanidad histórica de Jesús, el Hijo enviado del Padre. Sus actitudes frente al mal y su absoluto compromiso por la liberación del ser humano y de la creación hacen de su existir un proexistir, un ser-para-los-demás. Esta novedad ofrecida hace de su personalidad el arquetipo y anticipo realizado y consumado de la humanidad filiada y fraternizada. Y esta actitud existencial hace del morir la radicali- zación definitiva y permanente de la novedad anticipada y propuesta como sentido y realización del humano vivir. La propuesta del seguimiento, incipiente en su peregrinar histórico, las curaciones y el perdón de los pecados, la radicalidad del anuncio de la paternidad de Dios y la inminencia de la llegada de su Reinado en intensidad nueva, adquieren consistencia y universalidad en el acontecer de su muerte y resurrección. Estos acontecimientos no sólo muestran, señalan o revelan la eterna voluntad salvífica de Dios Padre sino que la realizan efectivamente en las coordenadas espacio-temporales, abriendo éstas a su consumación definitiva. A este misterio central y conformante, Dios ofreciéndose en la entrega pascual del Hijo, se accede en la fe profesada, celebrada, vivida y orada. La primera dimensión brota de la experiencia preliminar de Aquel que siendo nosotros todavía pecadores murió por nosotros (cf. Rm.5.6-8). De su acción nace la primera pasividad que es la acogida por haber conocido el amor de Dios y haber creído en él (cf. 1ª Jn.4.16). La celebración, fundamentalmente sacramental, de esta realidad se ofrece en el seno de la Comunidad Cristiana como actualización temporal de la perenne donación salvífica del acontecimiento Cristo. La existencia que con su Misterio Pascual se inaugura se hace participable y realiza progresivamente la asimilación del creyente y la transformación de toda la creación que gime con dolores de parto (Rm.8,22). Y lo sucedido y ofrecido se hace nueva relación que da a la existencia una nueva dimensión: la orante. 3 Este nuevo número de la revista Stauros está compuesto por variadas aportaciones sobre el Misterio de la Cruz. La primera del Profesor D. José Martínez Frías de la Universidad de Salamanca, nos ofrece un recorrido sobre La pasión de Cristo en el arte. El tema, tan amplio en sí mismo, es presentado mostrándonos las claves para una lectura lineal de su desarrollo; además señala las peculiaridades de este proceso y la riqueza inscrita en este misterio de fe que toma los diversos lenguajes artísticos para expresarse, siendo así fuente de creatividad y belleza. El profesor de la Facultad de San Dámaso en Madrid, D. Patricio Navascués, a partir de un texto de San Efrén analiza cómo en la tradición cristiana va tomando expresión y visibilidad el hecho enigmático y sorprendente del Señor Crucificado. La dureza de la tortura, la dramaticidad ofensiva y el desgarro de un cuerpo martirizado se convierte en el canon de una radical belleza, la del amor que así se expresa. La concreción histórica y geográfica de los hechos de la pasión, muerte y resurrección de Jesús han suscitado el interés de la comunidad cristiana moviendo a investigadores y sobre todo a creyentes. El P. Luis Díez Merino cp, experto biblista, nos muestra en su pormenorizada investigación el estado actual de los lugares de la pasión en Jeru- salén. El recorrido de la investigación arqueológico y la descripción del estado actual nos ofrecen concreción y verosimilitud para algunos de los datos que han transmitido las diversas tradiciones. Su aporte se hace no sólo un recorrido topográfico sino que con él brota también un recorrido por las diversas manifestaciones de fe que surgen en este itinerario. La reflexión deJavier Garrido completa este número con una aportación de teología espiritual o existencia cristiana. Con un estilo ágil, conservándose en el texto los giros del lenguaje coloquial y directo del curso ofrecido, presenta las claves del «discernimiento cristiano del Sufrimiento». Esta realidad, el dolor, elemento vertebrador e inseparable de la existencia humana, integra y tiene su papel en el proceso de maduración y per- sonalización de la fe. Su amplia y directa presentación abre perspectivas para el acom- pañamiento y para la vivencia en clave pascual de esta dimensión de la existencia. José Luis Quintero Sánchez cp 4 LA PASIÓN DE CRISTO EN EL ARTE José María Martínez Frías* Catedrático de Historia del Arte Universidad de Salamanca INTRODUCCIÓN La imagen de Cristo se nos ofrece como una de las más recurrentes de la historia del arte occidental, hecho que, lógicamente, nos va a permitir conocer el modo en que esa imagen se ha visualizado a lo largo de los siglos y estilos artísticos, conforme a la evolución del pensamiento teológico y de la devoción de cada época, y que, a su vez, nos va a proporcionar la posibilidad de percibir la manera en que los mentores de los programas iconográficos y los artistas encargados de ejecutarlos se han enfrentado al desafío que para ellos supone atraer a los fieles, con esas representaciones, hacia la vida y doctrina de Cristo. Pues bien, para dilucidar estas cuestiones, planteo un recorrido a través de distintos aspectos en torno a un conjunto de obras pertenecientes al ciclo iconográfico de la Pasión de Cristo, tema que, como bien es conocido, ocupa un lugar privilegiado en el arte cristiano, y con el que se hace referencia al momento culminante de la expe- riencia terrenal del Hijo de Dios encarnado, es decir, a la culminación de un designio, de una misión. Y es que, en palabras de Olegario González de Cardedal, «la vida y la muerte de Jesús forman un único destino. La cruz es el instante final de una existencia entregada; su punto álgido de dolor y de libertad1». El protagonismo de este tema se fundamenta en el dogma y en la liturgia. En efecto, la muerte de Cristo en la Cruz, redimiendo con ella al género humano del pecado Original, es, junto con la Resurrección, el dogma esencial del cristianismo, y por otro lado, la Semana Santa, que termina con la fiesta de Pascua, supone el momento cul- minante del año litúrgico, iniciado con el Adviento. Podría traerse asimismo a colación, en lo atinente a esta cuestión, lo que en muchas ocasiones se ha afirmado: el dolor ha inspirado más arte universal que el gozo, y la Pasión de Cristo se nos ofrece como el * Esta colaboración nos ha sido cedida amablemente por su autor. Fue publicada por primera vez en el catálogo PASSIO 2011 de la fundación LAS EDADES DEL HOMBRE. 1 «El «Expolio» del Greco y el «Grito» de Díaz-Castilla», en Pasión del hombre, Pasión de Dios. Universidad Pontificia de Salamanca. Caja de Ahorros y M. de P. de Salamanca, Salamanca, 1984, p.144. 5 referente por antonomasia del sufrimiento, porque lo experimenta en todas sus mani- festaciones: soledad, miedo, angustia, tortura, sangre, serenidad y muerte2. No será superfluo recordar, como por vía de proemio, que los historiadores suelen situar la aparición del arte cristiano en la primera mitad del siglo III, aduciendo como causa esencial de este retraso el hecho de que provenga de una tradición anicónica, fundamentada en una serie de prescripciones bíblicas. Así, se lee en el Éxodo: «No harás para ti obra de escultura, ni figura alguna de lo que hay arriba en el cielo, ni de lo que hay abajo en la tierra, ni de las cosas que están en las aguas debajo de la tierra»(20,4). En términos similares se expresan el Levítico (26,1) y Deuteronomio (5,8).
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