Interpreting the Parable of the Return of the Prodigal Son in Luke 15:11-32 through Paintings by Rembrandt Harmenszoon van Rijn, Giovanni Francesco Barbieri, and Bartolomé Esteban Murillo
This paper explores the theological interpretation of the biblical parable of the prodigal son in the Gospel of Luke through the lens of visual arts. Traditionally, biblical interpretation has relied heavily on textual and literary hermeneutics. However, this study argues that interpreting scriptures exclusively through written texts limits the richness of biblical understanding. By examining the concept of theological images and the aesthetic act of seeing, the research demonstrates how artworks serve as profound confessions of faith and offer unique hermeneutical insights. The study structurally analyzes the narrative of this chapter, delineating the distinct characteristics of the merciful father, the repentant younger son, and the resentful older brother. Subsequently, it scrutinizes and compares the masterpieces of three prominent painters: Rembrandt, Guercino, and Murillo. Each artist highlights different theological dimensions of the same biblical narrative. Rembrandt portrays the profound themes of repentance and unconditional forgiveness, vividly captured through the varied expressions of hands and posture. Guercino focuses predominantly on the restoration of the returned identity and status, emphasizing the symbolic garments and ring while deliberately omitting the older brother. Finally, Murillo accentuates a warm atmosphere of love, joy, and celebration, depicting a harmonious reunion surrounded by numerous characters anticipating the upcoming feast. Ultimately, this paper concludes that integrating visual arts into traditional biblical hermeneutics significantly enriches theological comprehension. It reveals that incorporating paintings provides invaluable resources for effective preaching and fosters a much deeper spiritual engagement for modern audiences seeking profound religious truth.
목차
I. Introduction II. Theological Image III. Analyzing the structure Luke 15 IV. Analyzing the Artworks of the “Return of the Prodigal Son” from three varied perspectives: Rembrandt Harmenszoon van Rijn, Giovanni Francesco Barbieri, and Bartolomé Esteban Murillo V. Comparing and Analyzing the Text and Paintings VI. Conclusion Bibliography Abstract