With Easter season upon us, how fitting to review this docuseries at a time when, for hundreds of millions of people worldwide, thoughts now turn to Christ, unleavened bread and chocolate bunnies.
Admittedly, I put off watching this rather lengthy series for quite a while, on account of its title. I thought maybe this was going to be one of those sophomoric, occult-based presentations, having to do with holy scripture supposedly containing cryptic knowledge just waiting to be deciphered by penetrating, if not outright delusional, minds. Much to my pleasant surprise, DECODING CHRISTIANITY is nothing of the sort. Don't let the word 'decoding' mislead you into thinking this is arcane content. Far from it; 'decoding,' as I read it, is simply used as a synonym for 'understanding' and, quite frankly, this is basically just a casual overview, at that; albeit a relatively comprehensive one.
The docuseries is hosted by a likable Roman Catholic Irishman by the name of Christy Kenneally, who serves both as commentator and as tour guide of sorts, and whose presence makes this even more of a delight to watch. With an adventurous, intellectual curiosity and, as host, natural charm of a Richard Dawkins (absent the cynical atheism), Kenneally travels the world to visit such places as cathedrals and the catacombs, and to chat with clergymen, theologians, and art historians, in search of 'decoding' his beloved faith. Among the various lands Kenneally visits are the Philippines, Wales, Rome, Turkey, France, Russia, and the USA.
Refreshingly, DECODING CHRISTIANITY is fairly neutral in its presentation. Despite the host being a religionist, it is neither out to debunk nor to convert.
Interestingly, Kenneally is not afraid to question certain practices and teachings pertaining to his religion, shown as he is at times examining various aspects of Roman Catholicism, seemingly from a semi-skeptical and detached perspective. More to the point, DECODING CHRISTIANITY is in large part a look at how institutionalized/cultural Christianity has shaped the lives of countless believers over the centuries, despite these two major influencing forces sometimes shown to be in conflict with the Bible.
As but two examples of this, considered are the Roman Catholic teachings of limbo and purgatory, theorized afterlife scenarios which are no where mentioned or alluded to in either the Old or New Testament scriptures. And what of Christian iconography -- specifically, the Roman Catholic use of images and idols? Kenneally recognizes that within Protestantism such forms of worship are strictly forbidden and are considered idolatrous, and yet notes that for many illiterate Catholics down through the ages, the use of images -- of which Christian paintings are among -- have helped in instructing the laity and in strengthening their faith. Cue scenes of Kenneally shown inside of gaudy cathedrals, gazing up at the ceiling, in awe of domed frescoes, such as the enormous Tadeo de Bartolo rendering of "The Last Judgment" (c. 1391), and the equally morbid artistic depiction of God's wrath, the Vascari/Zuccari masterpiece (c. 1572-1579). These images, straight out of the Book of Revelation, or largely inspired by the work of one Dante Alighieri?
Here we are treated to a brief lesson in angelology as well, as in our learning of the presumed hierarchical realm of these divine beings -- a concept having originated with an ancient Greek philosopher (the pretentiously named 'Pseudo-Dionysius the Areopagite'). Also examined, and most notably so, is the early Church controversy surrounding the substance of Christ.
Imagine, for a moment, if, at the Council of Nicea, Arianism had been accepted as gospel, as opposed to being declared a heresy. So it goes that the few nontrinitarian denominations in existence today are labeled apostates according to mainline Christian doctrine. Incidentally, the final verdict as expressed in the Nicene Creed brings to mind a passage in James Frazer's classic tome, "The Golden Bough," in which is recounted the story of a 2nd-century megalomaniac who, far from believing himself to be the incarnation of Christ alone, had gone about proclaiming himself the very embodiment of the Trinity.
Re: the cross. I recall from my comparative religions studies learning of this symbol having been positively regarded during pre-Christian times; literally viewed as a 'plus sign,' representing the intersecting of spirit and matter. I had this in mind as I watched Kenneally travel to the Philippines, to observe a 'Crucifixee,' a Filipino tied to a cross, arms outstretched, with his palms nailed to the horizontal beam, as part of an annual impaling ritual. As I sat watching this, I wondered if this man knew of the death-burial-resurrection story being common to several pagan pre-Christian societies, with the literalized Bible version possibly being adopted from these so-named 'mystery cults,' as if echoing the fertility-themed resurrection tales of Adonis, Dionysus, Osiris, Persephone, and others of the great old mythological past.
As for the early 1st- and 2nd-century Christian martyrs, also discussed at some length -- those alleged loyal devotees whose steadfast belief in the historicity of Christ caused them to be willing to die for their faith -- it is interesting to note that some historians have put forth the claim that these men and women were not so much martyrs as pseudo-spiritual rabble-rousers and insurrectionists -- diehard enemies of the state.
Might the character of Satan be based, in part, on the pagan nature god, Pan? The question is raised by Kenneally. Are depictions of angels with wings based on the variously portrayed winged gods of ancient Greco-Roman culture, a la Eros/Cupid? What did the early Christian symbol of the fish signify to 1st- and 2nd-century believers? Yet more musings, among several others, that are considered with an open and inquisitive mind in DECODING CHRISTIANITY.
Admittedly, I put off watching this rather lengthy series for quite a while, on account of its title. I thought maybe this was going to be one of those sophomoric, occult-based presentations, having to do with holy scripture supposedly containing cryptic knowledge just waiting to be deciphered by penetrating, if not outright delusional, minds. Much to my pleasant surprise, DECODING CHRISTIANITY is nothing of the sort. Don't let the word 'decoding' mislead you into thinking this is arcane content. Far from it; 'decoding,' as I read it, is simply used as a synonym for 'understanding' and, quite frankly, this is basically just a casual overview, at that; albeit a relatively comprehensive one.
The docuseries is hosted by a likable Roman Catholic Irishman by the name of Christy Kenneally, who serves both as commentator and as tour guide of sorts, and whose presence makes this even more of a delight to watch. With an adventurous, intellectual curiosity and, as host, natural charm of a Richard Dawkins (absent the cynical atheism), Kenneally travels the world to visit such places as cathedrals and the catacombs, and to chat with clergymen, theologians, and art historians, in search of 'decoding' his beloved faith. Among the various lands Kenneally visits are the Philippines, Wales, Rome, Turkey, France, Russia, and the USA.
Refreshingly, DECODING CHRISTIANITY is fairly neutral in its presentation. Despite the host being a religionist, it is neither out to debunk nor to convert.
Interestingly, Kenneally is not afraid to question certain practices and teachings pertaining to his religion, shown as he is at times examining various aspects of Roman Catholicism, seemingly from a semi-skeptical and detached perspective. More to the point, DECODING CHRISTIANITY is in large part a look at how institutionalized/cultural Christianity has shaped the lives of countless believers over the centuries, despite these two major influencing forces sometimes shown to be in conflict with the Bible.
As but two examples of this, considered are the Roman Catholic teachings of limbo and purgatory, theorized afterlife scenarios which are no where mentioned or alluded to in either the Old or New Testament scriptures. And what of Christian iconography -- specifically, the Roman Catholic use of images and idols? Kenneally recognizes that within Protestantism such forms of worship are strictly forbidden and are considered idolatrous, and yet notes that for many illiterate Catholics down through the ages, the use of images -- of which Christian paintings are among -- have helped in instructing the laity and in strengthening their faith. Cue scenes of Kenneally shown inside of gaudy cathedrals, gazing up at the ceiling, in awe of domed frescoes, such as the enormous Tadeo de Bartolo rendering of "The Last Judgment" (c. 1391), and the equally morbid artistic depiction of God's wrath, the Vascari/Zuccari masterpiece (c. 1572-1579). These images, straight out of the Book of Revelation, or largely inspired by the work of one Dante Alighieri?
Here we are treated to a brief lesson in angelology as well, as in our learning of the presumed hierarchical realm of these divine beings -- a concept having originated with an ancient Greek philosopher (the pretentiously named 'Pseudo-Dionysius the Areopagite'). Also examined, and most notably so, is the early Church controversy surrounding the substance of Christ.
Imagine, for a moment, if, at the Council of Nicea, Arianism had been accepted as gospel, as opposed to being declared a heresy. So it goes that the few nontrinitarian denominations in existence today are labeled apostates according to mainline Christian doctrine. Incidentally, the final verdict as expressed in the Nicene Creed brings to mind a passage in James Frazer's classic tome, "The Golden Bough," in which is recounted the story of a 2nd-century megalomaniac who, far from believing himself to be the incarnation of Christ alone, had gone about proclaiming himself the very embodiment of the Trinity.
Re: the cross. I recall from my comparative religions studies learning of this symbol having been positively regarded during pre-Christian times; literally viewed as a 'plus sign,' representing the intersecting of spirit and matter. I had this in mind as I watched Kenneally travel to the Philippines, to observe a 'Crucifixee,' a Filipino tied to a cross, arms outstretched, with his palms nailed to the horizontal beam, as part of an annual impaling ritual. As I sat watching this, I wondered if this man knew of the death-burial-resurrection story being common to several pagan pre-Christian societies, with the literalized Bible version possibly being adopted from these so-named 'mystery cults,' as if echoing the fertility-themed resurrection tales of Adonis, Dionysus, Osiris, Persephone, and others of the great old mythological past.
As for the early 1st- and 2nd-century Christian martyrs, also discussed at some length -- those alleged loyal devotees whose steadfast belief in the historicity of Christ caused them to be willing to die for their faith -- it is interesting to note that some historians have put forth the claim that these men and women were not so much martyrs as pseudo-spiritual rabble-rousers and insurrectionists -- diehard enemies of the state.
Might the character of Satan be based, in part, on the pagan nature god, Pan? The question is raised by Kenneally. Are depictions of angels with wings based on the variously portrayed winged gods of ancient Greco-Roman culture, a la Eros/Cupid? What did the early Christian symbol of the fish signify to 1st- and 2nd-century believers? Yet more musings, among several others, that are considered with an open and inquisitive mind in DECODING CHRISTIANITY.
