The experience of the beautiful has received new depth and new realism. The One who is the Beauty itself let himself be slapped in the face, spat upon, crowned with thorns; the Shroud of Turin can help us imagine this in a realistic way. However, in his Face that is so disfigured, there appears the genuine, extreme beauty: the beauty of love that goes "to the very end"; for this reason it is revealed as greater than falsehood and violence. Whoever has perceived this beauty knows that truth, and not falsehood, is the real aspiration of the world. It is not the false that is "true," but indeed, the Truth.
It is, as it were, a new trick of what is false to present itself as "truth" and to say to us: over and above me there is basically nothing, stop seeking or even loving the truth; in doing so you are on the wrong track. The icon of the crucified Christ sets us free from this deception that is so widespread today. However it imposes a condition: that we let ourselves be wounded by him, and that we believe in the Love who can risk setting aside his external beauty to proclaim, in this way, the truth of the beautiful.
Falsehood however has another strategem. A beauty that is deceptive and false, a dazzling beauty that does not bring human beings out of themselves to open them to the ecstasy of rising to the heights, but indeed locks them entirely into themselves. Such beauty does not reawaken a longing for the Ineffable, readiness for sacrifice, the abandonment of self, but instead stirs up the desire, the will for power, possession and pleasure. It is that type of experience of beauty of which Genesis speaks in the account of the Original Sin. Eve saw that the fruit of the tree was "beautiful" to eat and was "delightful to the eyes."
The beautiful, as she experienced it, aroused in her a desire for possession, making her, as it were, turn in upon herself. Who would not recognize, for example, in advertising, the images made with supreme skill that are created to tempt the human being irresistibly, to make him want to grab everything and seek the passing satisfaction rather than be open to others.
So it is that Christian art today is caught between two fires (as perhaps it always has been): It must oppose the cult of the ugly, which says that everything beautiful is a deception and only the representation of what is crude, low and vulgar is the truth, the true illumination of knowledge. Or it has to counter the deceptive beauty that makes the human being seem diminished instead of making him great, and for this reason is false.
Is there anyone who does not know Dostoyevsky's often-quoted sentence: "The Beautiful will save us"? However, people usually forget that Dostoyevsky is referring here to the redeeming Beauty of Christ. We must learn to see him. If we know him, not only in words, but if we are struck by the arrow of his paradoxical beauty, then we will truly know him, and know him not only because we have heard others speak about him. Then we will have found the beauty of Truth, of the Truth that redeems. Nothing can bring us into close contact with the beauty of Christ himself other than the world of beauty created by faith and light that shines out from the faces of the saints, through whom his own light becomes visible.
14 agosto 2006
Pope Benedict XVI on Beauty
An excerpt from The Feeling of Things, the Contemplation of Beauty, his 2002 Message to the Communion and Liberation community, back when he was known as Cardinal Ratzinger: