'NOLI ME TANGERE'
by Tiziano Vecellio 'Titian'
'NOLI ME TANGERE'
Christ and Mary Magdalene (Noli me tangere)
Noli me tangere is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London. Wikipedia
Artist: Titian
Dimensions: 1.09 m x 91 cm
Location: The National Gallery
Created: 1511–1514
Subject: Noli me tangere
Periods: Renaissance, Italian Renaissance, High Renaissance, Venetian school
Noli me tangere is a c. 1514 painting by Titian of the Noli me tangere episode in St John's Gospel. The painting is in oil on canvas and since the nineteenth century has been in the collection of the National Gallery in London. Wikipedia
Artist: Titian
Dimensions: 1.09 m x 91 cm
Location: The National Gallery
Created: 1511–1514
Subject: Noli me tangere
Periods: Renaissance, Italian Renaissance, High Renaissance, Venetian school
"Do not cling to me, for I have not yet ascended to My Father;
JOHN 20:11-18
Mary Magdalene Sees the Risen Lord
11 But Mary stood outside by the tomb weeping, and as she wept she stooped down and looked into the tomb.
12 And she saw two angels in white sitting, one at the head and the other at the feet, where the body of Jesus had lain.
13 Then they said to her, “Woman, why are you weeping?” She said to them, “Because they have taken away my Lord, and I do not know where they have laid Him.”
14 Now when she had said this, she turned around and saw Jesus standing there, and did not know that it was Jesus.
15 Jesus said to her, “Woman, why are you weeping? Whom are you seeking?” She, supposing Him to be the gardener, said to Him, “Sir, if You have carried Him away, tell me where You have laid Him, and I will take Him away.”
16 Jesus said to her, “Mary!” She turned and said to Him, “Rabboni!” (which is to say, Teacher).
17 Jesus said to her, “Do not cling to Me, for I have not yet ascended to My Father; but go to My brethren and say to them, ‘I am ascending to My Father and your Father, and to My God and your God.’"
18 Mary Magdalene came and told the disciples that she had seen the Lord, and that He had spoken these things to her.
Just as Mary Magdalene was the first to witness the empty tomb, she is also the first to witness the risen Christ, and the 'proof' of the resurrection largely rests on the shoulders of this one woman. She stands in for us. As she believes, we are invited to do the same.
Many over the centuries have found in her, someone with whom it is easy to identify - a woman of the world, but one who has seen her Saviour come 'through the cross' and understand the reality of Resurrection Life. "I know that my Redeemer liveth".
Titian's painting is unusual - in that a relatively small number of artists have chosen to visualise this moment - despite it being a major point in Christ's story. Depiction of Christ's meeting with the disciples is seen more often.
The title is Latin. Noli me tangere can be translated as "desire not to touch me", or as in verse 17 here "do not cling to Me" - the King James version translates it as "Jesus saith unto her, touch me not." The picture itself is a meditation on the gospel text and rewards greater study.
Mary Magdalene Sees the Risen Lord
11 But Mary stood outside by the tomb weeping, and as she wept she stooped down and looked into the tomb.
12 And she saw two angels in white sitting, one at the head and the other at the feet, where the body of Jesus had lain.
13 Then they said to her, “Woman, why are you weeping?” She said to them, “Because they have taken away my Lord, and I do not know where they have laid Him.”
14 Now when she had said this, she turned around and saw Jesus standing there, and did not know that it was Jesus.
15 Jesus said to her, “Woman, why are you weeping? Whom are you seeking?” She, supposing Him to be the gardener, said to Him, “Sir, if You have carried Him away, tell me where You have laid Him, and I will take Him away.”
16 Jesus said to her, “Mary!” She turned and said to Him, “Rabboni!” (which is to say, Teacher).
17 Jesus said to her, “Do not cling to Me, for I have not yet ascended to My Father; but go to My brethren and say to them, ‘I am ascending to My Father and your Father, and to My God and your God.’"
18 Mary Magdalene came and told the disciples that she had seen the Lord, and that He had spoken these things to her.
Just as Mary Magdalene was the first to witness the empty tomb, she is also the first to witness the risen Christ, and the 'proof' of the resurrection largely rests on the shoulders of this one woman. She stands in for us. As she believes, we are invited to do the same.
Many over the centuries have found in her, someone with whom it is easy to identify - a woman of the world, but one who has seen her Saviour come 'through the cross' and understand the reality of Resurrection Life. "I know that my Redeemer liveth".
Titian's painting is unusual - in that a relatively small number of artists have chosen to visualise this moment - despite it being a major point in Christ's story. Depiction of Christ's meeting with the disciples is seen more often.
The title is Latin. Noli me tangere can be translated as "desire not to touch me", or as in verse 17 here "do not cling to Me" - the King James version translates it as "Jesus saith unto her, touch me not." The picture itself is a meditation on the gospel text and rewards greater study.
Mary Magdalene kneels, one hand lifted towards 'the gardener', who is now revealed as Jesus. The figure of Christ pulls Himself and His shroud away from her hand, uttering the words of the title by gesture alone. One hand holds a staff, which appears to be a garden hoe - perhaps to suggest to the viewer that we too could mistake this figure for the gardener, but might also suggest that He is preparing the ground for us to follow, and that in calling Him the gardener Mary is not too far from the truth. It's shape though is also reminiscent of a shepherd's crook - and indeed some sheep are shown in the distance. An allusion to the Scripture references to Jesus as "the Great Shepherd of the Sheep". Both of these ideas speak of tending and caring - the tender love of Jesus.
JOHN 10: 11 I am the Good Shepherd. The Good Shepherd lays down His life for the sheep.
... and in verses 14-15
I am the Good Shepherd; I know my sheep and my sheep know me - just as the Father knows me and I know the Father - and I lay down my life for the sheep.
JOHN 10: 11 I am the Good Shepherd. The Good Shepherd lays down His life for the sheep.
... and in verses 14-15
I am the Good Shepherd; I know my sheep and my sheep know me - just as the Father knows me and I know the Father - and I lay down my life for the sheep.
The painting is divided by the tree showing us the Spiritual and Natural realms side by side - Heaven and Earth. The tree here is symbolic of The Cross of the Crucifixion - He died upon the tree - but scripture also uses trees to depict different human characteristics (e.g. cedars can represent righteousness). This tree has multiple allusions - to the Cross; to the veil in the Temple; to the sinful nature of man that crucified Jesus.
Mary kneels on this Earth and reaches out towards Heaven, revealing the beginning of understanding. Jesus stands on the heavenly side - an indication that He is already beyond this Earth, even if He has not yet ascended to be at God's Right Hand. The implement that Jesus carries lies across the tree, projecting from the heavenly into that green part of the natural realm, perhaps to confirm that He will not leave us or forsake us, but His tender mercies will forever link us in Earth and Heaven. His head seems to rest against the tree. His thoughts are not our thoughts, but they are of and for us.
ACTS 1: 9 After He said this, He was taken up before their very eyes, and a cloud hid Him from their sight. In Acts, the cloud is a type of the physical separation in the relationship between Jesus and the disciples. From this point on Jesus is with all His flock in Spirit and in Truth. A move from an earthly relationship to a deeper more intimate spiritual bond. The cloud is our fuzzy perception until revelation dawns, as it did for Jesus' disciples in ACTS 2. For Mary - and for us also - this moment of coming to the reality of the Risen Christ is only dimly perceived until the immensity of it dawns; that He is present with us, more real than the things we can touch.
Mary kneels on this Earth and reaches out towards Heaven, revealing the beginning of understanding. Jesus stands on the heavenly side - an indication that He is already beyond this Earth, even if He has not yet ascended to be at God's Right Hand. The implement that Jesus carries lies across the tree, projecting from the heavenly into that green part of the natural realm, perhaps to confirm that He will not leave us or forsake us, but His tender mercies will forever link us in Earth and Heaven. His head seems to rest against the tree. His thoughts are not our thoughts, but they are of and for us.
ACTS 1: 9 After He said this, He was taken up before their very eyes, and a cloud hid Him from their sight. In Acts, the cloud is a type of the physical separation in the relationship between Jesus and the disciples. From this point on Jesus is with all His flock in Spirit and in Truth. A move from an earthly relationship to a deeper more intimate spiritual bond. The cloud is our fuzzy perception until revelation dawns, as it did for Jesus' disciples in ACTS 2. For Mary - and for us also - this moment of coming to the reality of the Risen Christ is only dimly perceived until the immensity of it dawns; that He is present with us, more real than the things we can touch.
The tree is also revealed as a separation. Jesus has "gone through the Cross" and is now revealed in Resurrection life to lead the way. Behind Jesus' head is a patch of bright blue - land seen in the distance - indicating eternity in the spirit - the Kingdom of God.
Above Mary Magdalene is a cluster of buildings of a design more familiar to Titian's Renaissance viewers than to First Century Judeans. At first glance they appear quite imposing on their elevated ground, but closer inspection reveals that the high tower or wall has vegetation growing along the top. Some of the structures appear dilapidated and no light shines in any window. Earthly things are temporal not eternal; they shall fail or fall.
MARK 13:31 Heaven and earth shall pass away: but my words shall not pass away (See also the gospels of Matthew 24:35 and Luke 21.33)
Mary Magdalene - her scarlet dress; her covering in the blood of Jesus if you will - kneels in submission to her Lord on barren earth, while Christ stands on the living green grass - His change now from crucifixion death to resurrection life complete. Draw a line upward along Mary's back and it follows on to the tree - and there meets Jesus, his outstretched arm protecting, even as He withdraws from the touch; we too can be raised to be with Christ in the heavenlies here and now. We cannot touch because He abides within us, and we know Him more clearly, love Him more dearly.
JOHN 4:16 And so we know and rely on the love God has for us. God is love. Whoever lives in love, lives in God, and God in him.
Above Mary Magdalene is a cluster of buildings of a design more familiar to Titian's Renaissance viewers than to First Century Judeans. At first glance they appear quite imposing on their elevated ground, but closer inspection reveals that the high tower or wall has vegetation growing along the top. Some of the structures appear dilapidated and no light shines in any window. Earthly things are temporal not eternal; they shall fail or fall.
MARK 13:31 Heaven and earth shall pass away: but my words shall not pass away (See also the gospels of Matthew 24:35 and Luke 21.33)
Mary Magdalene - her scarlet dress; her covering in the blood of Jesus if you will - kneels in submission to her Lord on barren earth, while Christ stands on the living green grass - His change now from crucifixion death to resurrection life complete. Draw a line upward along Mary's back and it follows on to the tree - and there meets Jesus, his outstretched arm protecting, even as He withdraws from the touch; we too can be raised to be with Christ in the heavenlies here and now. We cannot touch because He abides within us, and we know Him more clearly, love Him more dearly.
JOHN 4:16 And so we know and rely on the love God has for us. God is love. Whoever lives in love, lives in God, and God in him.
And what raises this painting above the level of first rate to be a masterpiece by a great artist, is its depiction of love. The deep love of Mary for her Master and teacher. Titian has sought that moment which comes to us all when we find love transformed, but not lost, by the destruction of the body - the moment when earthly love recognises and becomes divine love. Mary came to tend to Jesus' body - one hand is shown holding a jar of ointment (most likely myrrh - as an anointing for burial) - an expression of her love for her Saviour. When she recognises Him it is instinctive to reach out to touch Him.
This time is past and Jesus pulls away, but in His protective arm gesture He offers a miraculous alternative to physical presence.
Mary is not only the first to witness the empty tomb, the first to witness the Resurrected Christ, but the first to see The Holy Spirit, and know that He cannot be lost to us or taken from us, no matter how Satan in the hearts of men may try.
The profound truth of the Resurrection is poetically realised in this work, and with symphonic grandeur ... and love.
I found this song, which has beautiful words, the first verse and refrain of which might have been written by Mary Magdalene herself ...
This time is past and Jesus pulls away, but in His protective arm gesture He offers a miraculous alternative to physical presence.
Mary is not only the first to witness the empty tomb, the first to witness the Resurrected Christ, but the first to see The Holy Spirit, and know that He cannot be lost to us or taken from us, no matter how Satan in the hearts of men may try.
The profound truth of the Resurrection is poetically realised in this work, and with symphonic grandeur ... and love.
I found this song, which has beautiful words, the first verse and refrain of which might have been written by Mary Magdalene herself ...
TENDER LOVE OF JESUS by Ruth M. Emswiler, 1970
Public Domain
Subjects: Love, Jesus/Savior
Scripture: Ephesians 3:19; 5:2
Tender love of Jesus, so lovely and so pure;
Flowing through this vessel to strengthen, fill, and cure
All the doubt and turmoil that’s caused by sin and shame,
Making me a witness to His most holy name.
Refrain 1-2:
Yes, love, Christ’s love, pure love, great love;
With joy my heart is singing, the things of life grow dim,
For Christ is love!
Through the passing ages flowed down this love divine,
Lighting men and angels and causing them to shine
With a heav’nly radiance, His glory from above,
Sunshine of the Spirit, the holy light of love.
Tender love from heaven in Jesus came to live,
Showing us how God loves, and then His life to give;
Came to be a servant, with God’s great pow’r and peace
Leads us to the Father, Whose love will never cease.
Refrain 3-4:
God’s love, sweet love from Heav’n above;
This love is like an ocean, its waves are reaching me;
Christ came this love to be
Love is mine in Jesus, this babe of Bethlehem,
Prince of Peace forever, the Christ, the great I AM;
Angels gave the message, and shepherds passed it on,
Love will be the story when heav’n and earth are gone.
DANIEL 7:14 And there was given him dominion, and glory, and a kingdom, that all people, nations, and languages, should serve him: his dominion is an everlasting dominion, which shall not pass away, and his kingdom that which shall not be destroyed.
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