Christianity Today Roundly Mocked for Claiming Jesus Was ‘Asian’
Christianity Today must have really wanted to be ratioed for Christmas, getting their wish after Victoria Emily Jones published an article claiming Jesus was ‘Asian.’
We’ve rarely been friendly to Christianity Today, and with good reason. Led men by Russell Moore, they’re the progressive rag known for virtue-twerking and giving a platform to every weird and liberally insidious bent. Never forget that even before they egregiously came swinging against the violence at Capitol Hill on January 6th, laying the responsibility for the mayhem at the feet of the “white American church” and any leaders who voted for and supported the President, they proclaimed that anyone who voted for the GOP was an inherent racist who was committing “politically motivated spiritual violence” against black folk.
They released editorials calling Trump voters “jobless” and “uneducated,” with former Editor-in-Chief Mark Galli explaining that he didn’t even know any Trump Supporters. This was the same guy who was a dedicated Roman Catholic for the last two years of his tenure there, and no one there even cared.
Christianity Today recently brought us wonderful articles likening any churches being open during COVID to engaging in “snake handling” and was the subject of an investigation that found staffers there donate exclusively to Democrats.
That’s who we’re dealing with here. Add in the fact that just months ago, they were rocked by a major scandal, revealing that ‘sexual harassment went unchecked’ a company for a decade, all the while preening as our moral betters, and it gets nauseating quickly.
In her photo essay featuring artists rendition of Jesus from the thirteenth century onward, Jones offers “Jesus was born in Asia. He was Asian. Yet the preponderance of Christian art that shows him at home in Europe has meant that he is embedded deeply in the popular imagination as Western.”
Noting that “Some may object to depicting Jesus as anything other than a brown male born into a Jewish family in Bethlehem of Judea in the first century, believing that doing so undermines his historicity,” Jones insists that “Christian artists who tackle the subject of the Incarnation are often aiming not at historical realism but at theological meaning.”
By representing Jesus as Japanese, Indonesian, or Indian, they convey a sense of God’s immanence, his “with-us–ness,” for their own communities—and for everyone else, the universality of Christ’s birth.
Naturally, this went over about as well as you’d expect:
Exactly what we’d expect.
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