I was at church this morning taking in the Easter festivities and breakfast, when I looked up and saw this on the screen.
The painter Caravaggio, from the little I’ve read, was a wayward man. He was no choir boy. But he brought about a needed change in the world of painting. The past century of art had been stuck in the mythic-realism of idealizing the human form and life. Yet Caravaggio was a fresh step out of this idealism and into a natural portrayal of life and the human body. Jesus isn’t portrayed as an avid member of the local YMCA. He is exceedingly normal.
And this is the first thing the painting helps me remember: the resurrection was a real event, with used, well-worn bodies, full of doubting minds and reaching fingers. It all sweeps by me now, but Peter showed up at the tomb sweating and panting. There were wringing hands, and groups huddled in fear; disappointed women, old and unsure of how they were going to roll away the stone but going anyways.
It is good for me to step out of the idealism of my faith and rethink the simplicity and strangeness of this new day. Everything is so often cast in superb colors and the highest form that I forget that they refer to something real. Do you think Peter got a side-ache running to the tomb? Yet not even this one underhandedly glorious day, but the whole of my life is misshapen by a daydream and stretched vision that I lose sight of the humble present. It seems that we either try to make the miraculous everyday or the everyday miraculous. Yet there must be space for me to say that God wants me healing the sick, speaking to the broken hearted, and doing the dishes. But I’m afraid we too often sit talking, imagining together what our lives could, should, or will hopefully look like. The dreams always dripping with the amazing, cultured, and heroic, while the immediate need of the moment, the small task, the ignored word, is left unspoken, untried, and unrealized. O Lord forgive me.
But here is the second thing the painting showed me: in the midst of my doubt, Jesus pulls my hand to his pierced side. I love Thomas’ eyes. I love that his finger is actually in Jesus’ side. I love the wrinkles and looks of inquisitive perplexity on the men’s faces. But most of all, I love that Jesus welcomes their skepticism and pulls Thomas in. ”Touch me, Thomas. Come here, and feel the wound in my side.” O Lord take hold of me.
I am often startled by what I believe. Somethings don’t seem to add up, and others do and are just as unsettling. From apparent discrepancies in the gospels to clearing the promise land, I’m not always leaving my time in the Word rejoicing in God’s goodness or renewed in my assurance of his presence (or existence). And, what is more, I often feel guilty: how can I be given so many opportunities, have so many experiences, and be assured so many times and still doubt? Surely, I am a frustrating disappointment to God.
Yet this painting calls me to think again. Jesus does not just passively accept Thomas’ doubts, reluctantly opening himself to his touch and prodding. He pulls him in, grabs his hand and welcomes his doubts. For what can my questions and doubts hold against the risen Christ? And what is more, Christ not only is far above my concerns, he condescends, comes down to make himself known to me and settle my fears. He returns again to Thomas, not leaving him out wondering, but returns for him to see, touch, feel, and believe.
So this Easter, I have a God who is risen and coming back around to this reluctant skeptic. And may my doubts and questions too be transformed to the exclamation of awe and worship: “My Lord and my God!”
