Pope Francis Praises Blasphemous Painting

Update:

Added: I want to correct the last paragraph of this post.

I now read that Chagall grew up in a religious Hasidic family, so he must have understood exactly what he was doing.

As for Francis, I should add that there is the possibility that he is being manipulated by more powerful people behind him….the crony-capitalist Jewish elites that use redistributionist rhetoric to con the gullible public. The support for the “climate-control” agenda suggests that Francis is not so much a leftist as an opportunistic “liberal” of the sort that has the backing of George Soros and the CIA.

That would account for the enormous media coverage that he gets.

ORIGINAL POST

The essence of Christianity is but the negation of the right of Judaism to exist…. The figure of Jesus is the figure of the universal enemy of Judaism, the eliminator and destructor of Jewish law [torat yisrael]. Thus, this figure was abhorred and despised in the eyes of many Jews with Jewish consciousness throughout the generations, and I share this despise and abomination”

—  Yeshayahu Leibowitz

[Lila: Of course, I do not accept that Christianity is the negation of Judaism…by which I mean Biblical Yahwism.

The Gospel, said Jesus, was the fulfillment of the Law (of Yahweh).

Yahweh of the Old Testament is the same merciful but righteous God as the one in the New Testament, although the OT scriptures have many misinterpretations, additions, alterations and corruptions that obscure that fact.]

Pope Francis’s fondness for the paintings of Marc Chagall has caught the attention of the media.

Forward.com:

In interviews with Francesca Ambrogetti and Sergio Rubin for the 2010 biography “ El Jesuita ,” Pope Francis identified “White Crucifixion,” which depicts a Jewish Jesus, wearing a tallit instead of a loincloth, as his favorite work of art. “He likes us, he really does,” Tweeted Miriam Shaviv , a columnist for Britain’s Jewish Chronicle, about the pope.

But there’s more to the painting than “owning” Jesus as a Jew.

[Lila: Jesus was an Israelite, but not a Jew in the modern sense, obviously.

In the classical sense, there is no “Jew,” as such. That is a propagandist coinage invented to conflate the post-Temple (Talmudic) beliefs of a contemporary mixed-race people of Middle-Eastern and European descent with the Torah faith (Yahwism) of a Semitic people of thousands of years ago.

In Biblical times, there was only the Judean (a resident of Judea) and the Judahite (descendant of Judah).

Now, Jesus was not a descendant of Judah on his mother’s side (despite the genealogies in Matthew and Luke) and since he was only grafted on to Joseph, he could not have descended genetically from him either.

Finally, he was a resident of Galilee, not Judea, although he did teach in Judea. He was an Israelite, a Galilean, and, most likely, a Levite, descended from Aaron.

Israelite is not the same thing as Israeli. The latter word is often inserted into modern Bibles to conflate the two in the minds of unsuspecting readers, in order to further Zionist goals.]

Surrounding Jesus, we see a synagogue, a Torah scroll and a shtetl burning, as armed men march carrying red flags. And in the bottom-right corner, the Wandering Jew, donning a blue cap and a green coat, lugs a sack as he trudges past the smoking Torah.

That the chief executive of the Catholic Church has an affinity for a painting that was created by a Russian Jewish artist and also includes the symbol of the eternal wanderer, who was punished for abusing Jesus and became the pretext for centuries of anti-Semitism, is drawing a range of reactions.”

Forward is a Jewish paper.
The creator of White Crucifixion is the famous Russian Jewish painter, Marc Chagall.
For insight into what is really going on in Francis’ public admiration of  White Crucifixion, take a closer look at the painting.
It is not problematic that Jesus’s suffering on the cross is identified with the suffering of Jews.
[Lila: I want to reiterate this. Innocent suffering can be rightfully identified with the suffering of Jesus.  There is nothing inherently blasphemous about that.]
It is problematic for Christians that Jesus’ atonement is displaced by collective Jewish suffering.
The displacement is pure Kabbalistic teaching:
Determined to obscure the aptness of the prophesies of the Messiah in the Old Testament to the life of Jesus, the medieval Rabbi Shlomo Yitzchaki (Rashi) came up with the notion that the “suffering servant” the Scriptures describe in Isaiah 53 was not a man at all.
The suffering servant was the Jewish people as a nation.
This Kabbalistic notion has become a mainstream Jewish notion.
Now look at the Chagall  painting close up:
http://1.bp.blogspot.com/-3HyKqo3jDlE/U3Kd-hmHJcI/AAAAAAAABdQ/V2lovO5wD_w/s1600/2094732310089814684UlOOJR_fs.jpg
The inscription above Jesus is the word, Yeshu, a variant of  Jesus’ name, used in the Jewish scriptures, the Talmud.
In the Babylonian Talmud (the more authoritative Talmud), Yeshu is mentioned as the one who led Israel into apostasy and was rightfully hanged on the Passover.
He is said to have had five disciples and to have performed sorceries.
Contemporary scholars claim that this and other references to Yeshu are descriptions of someone else, but there is ample historical and other testimony that Yeshu is none other than Jesus.
The name expresses the hostility of post-Temple (post 70 AD) rabbinate to Jesus.
Yeshu is an acronym for Yima  (YE) + Shemo (SH) +  Wezikhro (W)  meaning, May his name and memory be stricken out.
How to reconcile this curse with the depiction of Jesus with tallit and with the turban, characteristic of ancient Jewish rabbis?
The Polish Hasidic tradition, for instance, embraced the notion of a tzaddik (compare with Sanskrit sadhaka) or holy man,  whose being in this world was so close to the divine as to resemble that of incarnate deity.
And it is this rabid anti-Christian, incarnational Hasidism that permeates the painting.
Whether Chagall fully knew what he was doing is debatable, but Francis surely does.

Francis’ public embrace of  this anti- Christian art cannot be accidental.

He is too well-educated and, as we can see from his wildly popular sound-bytes, too well-versed in public relations.

 

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