PICTURING THE PASSION: ‘The Disembowelment of Judas’ by Giacom/ Giovanni Canavesio (1491)
The Archdiocesan Heritage Museum, Mumbai brings to you the fifth article in the series titled ‘Picturing the Passion’
Judas Iscariot! It is the most hated name in history that instinctively recalls curse, criticism and condemnation. People fear of being designated ‘a Judas’, the most heinous of all traitors. Dante, in his celebrated Divine Comedy, considers him the worst sinner and places him in the center of hell, in the mouth of Lucifer himself. An accursed villain in the Passion of Christ, Judas is regarded synonymous to the devil and to evil. Thanks to his well played antihero role, he is also one of the most recalled apostles, damned for his betrayal.
He betrayed Christ at two specific moments: the first was while devising the plan with the Pharisees over the agreement of the 30 pieces of silver and the second was during the execution of the said plan in the Garden of Gethsemane. As he hands his Master over to the murders, he steps closer to his own death, a self-murder.
The versions to this narrative are varied. While the Gospel of Matthew states, ‘When Judas, the traitor, realised that Jesus had been condemned, he was filled with remorse and returned the thirty pieces of silver to the chief priest and the elders, saying ‘I have sinned by betraying innocent blood’ They answered, ‘What does it matter to us? That is your concern.’ So throwing the money into the Temple, he went away and hanged himself.’
Peter in the Acts of the Apostle further states, ‘We know that he brought a field with the reward of his sin; yet he threw himself headlong to his death, his body burst open and all his bowels spilled out. This became known to all the people living in Jerusalem and they named that field Akeldama in their own language, which means Field of Blood.’
The above two scripture texts, set the context for today’s painting in consideration. It is executed by Giovanni Canavesio, a master Italian painter of the late 1400’s. Canavesio was known for his depiction of horrific and violent scenes that were articulated often with a distortion of anatomy. The best rendering of his wacky ways is witnessed by the painting ‘The disembowelment of Judas.’
The scene is set against a walled field titled Akeldama. The berry tree in the field bears not just fruits but also the stain of human blood. A noose hangs loose from the old tree. Against its strings dangles the deranged grotesque figure of Judas, the traitor. A spiky mop of red-hair covers his bestial head.
Although no longer alive, Judas with glaring eyes, flashing teeth and a bulging tongue watches in horror the consequence of his fate. As his limpid cold body floats in air, the devil makes the most of it. Tearing off Judas’ murky cloak, he opens forth a dehiscent wound that spouts blood, and with the blood, the organs pop out too. The scene is foul to say the least. As a stream of entrails spill out of his open abdomen, the devil devours at his unclean soul, here depicted in the form of a miniature helpless adult.
Fr. Warner D'Souza is a Catholic priest of the Archdiocese of Bombay. He has served in the parishes of St Michael's (Mahim), St Paul's (Dadar East), Our Lady of Mount Carmel, (Bandra), a ten year stint as priest-in-charge at St Jude Church (Malad East) and at present is the Parish Priest at St Stephen's Church (Cumballa Hill). He is also the Director of the Archdiocesan Heritage Museum and is the co-ordinator of the Committee for the Promotion and Preservation of the Artistic and Historic Patrimony of the Church.
Wow….so beautifully interpreted and explained.
God bless u Joynel!
Wat an excellent example of how foolish we humans at times culd be…..we indulge into self criticism and decide to punish ourselves for the sins which our Lord has already forgiven and willing to forgive over and over again….