Three Resurrection paintings by Indian artist Jyoti Sahi

The chocolate bunnies and plastic grass may have moved to the out-of-sight discount racks of stores, but Easter isn’t over! Because the Resurrection is a truth that’s not easily plumbed or quickly exhausted, the liturgical calendar designates fifty days for its celebration, a season known as Eastertide. In this period we are invited to linger over the gift of Jesus’s Resurrection—to spend time admiring it and becoming familiar with it and letting its power infuse our lives. So through May 14, the content at Art & Theology will focus on this bright season.

First up: three Resurrection paintings by Dr. Jyoti Sahi, who runs an art ashram in Silvepura Village, Karnataka, in India, just outside Bangalore. Of all the painters of biblical themes active today, Sahi is definitely one of the most inventive. An artist since the late 1960s, he has been instrumental in developing a visual gospel language that’s contextualized to Indian culture and in fostering Hindu-Christian dialogue. Here are three different approaches he’s taken to depict that notoriously difficult-to-depict subject: the Resurrection of Christ.

Jesus as the Greater Jonah

This is an example of an image that rewards deep looking, being so chock-full of symbols. I encourage you, before reading on, to just gaze at the image for one full minute, and see what you see.

Resurrection by Jyoti Sahi
Jyoti Sahi (Indian, 1944–), Resurrection, 2007. Oil on canvas, 178 × 122 cm.

First I notice the outstretched arms of Christ—a pose that deliberately references the Crucifixion. Here, though, those extremities are not pinned down to a cross. They are utterly open and free, embracing the world in risen glory. It’s common for artists to hint at the Crucifixion in Resurrection images. There’s a theological reason for that: the Crucifixion and Resurrection are two sides of the same coin, one great unified event, neither of which can be understood in isolation from the other. Sahi strengthens this link by including a human figure on each side of Christ. In Crucifixion images, these spots are traditionally occupied by the Virgin Mary and the apostle John, but here the abstracted figures double as two of the Marys at the tomb. They look down to where they had laid the body two days ago but find only an empty stone bench. They have yet to encounter the enormous presence behind them.   Continue reading “Three Resurrection paintings by Indian artist Jyoti Sahi”