Editing Passion of Jesus (section)

==In the arts==

===Visual art===
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{{See also|Life of Christ in art}}
[[File:Normandie Manche Avranches3 tango7174.jpg|thumb|upright=2|A set of the [[Stations of the Cross]] in painted [[vitreous enamel|enamel]].]]
Each episode of the Passion, such as the [[Flagellation of Christ]] or [[Entombment of Christ]], has been represented thousands of times and has developed its own [[iconography|iconographic]] tradition; the Crucifixion is much the most common and important of these subjects. The Passion is often covered by a cycle of depictions; [[Albrecht Dürer]]'s [[Old master print|print]] cycles were so popular that he produced three different versions. [[Andachtsbilder]] is a term for devotional subjects such as the [[Man of Sorrows]] or [[Pietà]], that may not precisely represent a moment in the Passion but are derived from the Passion story. The ''[[Arma Christi]]'', or "Instruments of the Passion" are the objects associated with Jesus's Passion, such as the cross, the [[Crown of Thorns]] and the [[Holy Lance|Spear of Longinus]].  Each of the major Instruments has been supposedly recovered as [[Relics attributed to Jesus|relics]] which have been an object of veneration among many Christians, and have been depicted in art. [[Veronica's Veil]] is also often counted among the Instruments of the Passion; like the [[Shroud of Turin]] and [[Sudarium of Oviedo]] it is a cloth relic supposed to have touched Jesus.

In the Catholic Church, the Passion story is depicted in the [[Stations of the Cross]] (''via crucis'', also translated more literally as "Way of the Cross"). These 14 stations depict the Passion from the sentencing by Pilate to the sealing of the tomb, or with the addition of a 15th, the resurrection. Since the 16th-century representations of them in various media have decorated the [[nave]]s of most Catholic churches. The Way of the Cross is a devotion practiced by many people on Fridays throughout the year, most importantly on [[Good Friday]]. This may be simply by going round the Stations in a church, or may involve large-scale re-enactments, as in [[Jerusalem]]. The [[Sacri Monti of Piedmont and Lombardy]] are similar schemes on a far larger scale than church Stations, with chapels containing large sculpted groups arranged in a hilly landscape; for [[pilgrim]]s to tour the chapels typically takes several hours. They mostly date from the late 16th to the 17th century; most depict the Passion, others different subjects as well.<ref>{{Cite web |title=The Passion as Christian Artwork {{!}} EWTN |url=https://www.ewtn.com/catholicism/library/passion-as-christian-artwork-4189 |access-date=2022-10-24 |website=EWTN Global Catholic Television Network |language=en |archive-date=2022-10-24 |archive-url=https://web.archive.org/web/20221024060906/https://www.ewtn.com/catholicism/library/passion-as-christian-artwork-4189 |url-status=live }}</ref>

===Music===
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{{Main|Passion (music)|Tenebrae}}
[[File:St John the Baptist church frescoes.JPG|thumb|upright=1.5|Fresco depicting the trial and beating of Jesus (17th century, [[St. John the Baptist Church, Yaroslavl]], Russia).]]
The main traditional types of [[church music]] sung during Holy Week are [[Passion (music)|Passions]], musical settings of the Gospel narratives, both a Catholic and Lutheran tradition, and settings of the readings and responses from the Catholic [[Tenebrae]] services, especially those of the ''[[Lamentations of Jeremiah the Prophet]]''. The many settings of the [[Stabat Mater]] or [[musical settings of sayings of Jesus on the cross]] are also commonly performed.

The reading of the Passion section of one of the Gospels during [[Holy Week]] dates back to the 4th century. It began to be intoned (rather than just spoken) in the Middle Ages, at least as early as the 8th century. Ninth-century manuscripts have ''litterae significativae'' indicating interpretive chant, and later manuscripts begin to specify exact notes to be sung. By the 13th century, different singers were used for different characters in the narrative, a practice which became fairly universal by the 15th century, when [[polyphonic]] settings of the ''turba'' passages began to appear also. (''Turba'', while literally meaning "crowd", is used in this case to mean any passage in which more than one person speaks simultaneously.)

In the later 15th century a number of new styles began to emerge:
* Responsorial Passions set all of Christ's words and the turba parts polyphonically.
* Through-composed Passions were entirely polyphonic (also called ''motet Passions''). [[Jacob Obrecht]] wrote the earliest extant example of this type.
*''Summa Passionis'' settings were a synopsis of all four Gospels, including the [[Seven Last Words]] (a text later set by [[Joseph Haydn|Haydn]] and [[Théodore Dubois]]). These were discouraged for church use but circulated widely nonetheless.

In the 16th century, settings like these, and further developments, were created for the Catholic Church by [[Tomás Luis de Victoria|Victoria]], [[William Byrd]], [[Jacobus Gallus]], [[Francisco Guerrero (composer)|Francisco Guerrero]], [[Orlando di Lasso]], and [[Cypriano de Rore]].

[[File:Russia-Moscow-Kremlin Museums Exhibitions-5.jpg|thumb|[[Russian Orthodox]] [[icon]] of the Passion with scenes of the [[martyr]]dom of the [[Twelve Apostles]], symbolizing how all are called to enter into the Passion ([[Moscow Kremlin]]).]]

[[Martin Luther]] wrote, "The Passion of Christ should not be acted out in words and pretense, but in real life." Despite this, sung Passion performances were common in Lutheran churches right from the start, in both Latin and German, beginning as early as [[Laetare Sunday]] (three weeks before Easter) and continuing through Holy Week. Luther's friend and collaborator Johann Walther wrote responsorial Passions which were used as models by Lutheran composers for centuries, and "''summa Passionis''" versions continued to circulate, despite Luther's express disapproval.

Later 16th-century passions included choral "''exordium''" (introduction) and "''conclusio''" sections with additional texts. In the 17th century came the development of [[oratorio]] passions which led to Johann Sebastian Bach's [[Passions (Bach)|Passions]], accompanied by instruments, with interpolated texts (then called "madrigal" movements) such as [[sinfonia]]s, other Scripture passages, Latin [[motet]]s, chorale arias, and more. Such settings were created by [[Bartholomäus Gesius]] and [[Heinrich Schütz]]. Thomas Strutz wrote a Passion (1664) with arias for Jesus himself, pointing to the standard [[oratorio]] tradition of [[Heinrich Schütz|Schütz]], [[Giacomo Carissimi|Carissimi]], and others, although these composers seem to have thought that putting words in Jesus' mouth was beyond the pale. The practice of using [[recitative]] for the Evangelist (rather than plainsong) was a development of court composers in northern Germany and only crept into church compositions at the end of the 17th century. A famous musical reflection on the Passion is [[Messiah Part II|Part II]] of ''[[Messiah (Handel)|Messiah]]'', an oratorio by [[George Frideric Handel]], though the text here draws from Old Testament prophecies rather than from the gospels themselves.

The best known Protestant musical settings of the Passion are by Bach, who wrote [[Passions (Bach)|several Passions]], of which two have survived completely, one based on the [[Gospel of John]] (the ''[[St John Passion]]''), the other on the [[Gospel of Matthew]] (the ''[[St Matthew Passion]]''). His ''[[St Mark Passion, BWV 247|St Mark Passion]]'' was reconstructed in various ways. The Passion continued to be very popular in Protestant Germany in the 18th century, with Bach's second son [[Carl Philipp Emanuel Bach|Carl Philipp Emanuel]] composing [[The Passions of C.P.E. Bach|over twenty settings.]] [[Gottfried August Homilius]] composed at least one cantata Passion and four [[Passions (Homilius)|oratorio Passions]] after all four Evangelists. Many of C. P. E. Bachs performances were in fact works by Homilius.

In the 19th century, with the exception of [[John Stainer]]'s ''[[The Crucifixion (Stainer)|The Crucifixion]]'' (1887), Passion settings were less popular, but in the 20th century they have again come into fashion. Two notable settings are the ''[[St. Luke Passion (Penderecki)|St. Luke Passion]]'' (1965) by [[Poland|Polish]] composer [[Krzysztof Penderecki]] and the ''[[Passio (Pärt)|Passio]]'' (1982) by [[Estonia]]n composer [[Arvo Pärt]]. Recent examples include ''The Passion According to St. Matthew'' (1997), by [[Mark Alburger]], and ''The Passion According to the Four Evangelists'', by Scott King. [[Andrew Lloyd Webber]]'s ''[[Jesus Christ Superstar]]'' (book and lyrics by [[Tim Rice]]) and [[Stephen Schwartz (composer)|Stephen Schwartz]]'s ''[[Godspell]]'' both contain elements of the traditional passion accounts. Sofia Gubaidulina composed a ''[[Johannes-Passion (Gubaidulina)|Johannes-Passion]]'', commissioned to commemorate Bach in Stuttgart in 2000, for which she combined the Gospel of John with texts from the [[Book of Revelation]].

Choral meditations on aspects of the suffering of Jesus on the cross include arrangements such as Buxtehude's ''[[Membra Jesu Nostri]]'', a 1680 set of seven [[Passion cantata]]s, and the first such Lutheran treatment, incorporating lyrics excerpted from a medieval Latin poem and featuring Old Testament verses that prefigure the Messiah as [[Suffering Servant|suffering servant]].

===Drama and processions===
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[[File:Stuttgart 2009 040 (RaBoe).jpg|thumb|upright=1.2|Christian Easter passion [[procession]] in Stuttgart, Germany]]
[[File:5 010 Via Dolorosa- Walk in Jerusalem, with Jesus Christ-Actor and Press.jpg|thumb|upright=1.2|Reenacting the [[Stations of the Cross]] in [[Jerusalem]] on the [[Via Dolorosa]] from the [[Lions' Gate]] to the [[Church of the Holy Sepulchre]].]]

Non-musical settings of the Passion story are generally called [[Passion play]]s; these have been very widely performed in traditionally Catholic countries, often in churches as [[liturgical drama]]s&nbsp;– for versions with musical settings, see the previous section. One famous cycle is performed at intervals at [[Oberammergau]] Germany, another in [[Sordevolo]] one of the most important in Italy, and another in the Brazilian state of [[Pernambuco]] uses what is considered the [[New Jerusalem theater|largest open-air theater]] in the world. The Passion figures among the scenes in the English [[mystery play]]s in more than one cycle of dramatic vignettes. In the [[Chester Mystery Plays]]' portrayal of Christ's Passion, specifically his humiliation before his sentence to crucifixion, the accounts of the Gospels concerning the physical violence visited on Jesus during his trial before the Sanhedrin, and the humiliating crowning of thorns visited upon him in Pilate's palace (or by Herod's soldiers, according to Luke), is further confused by showing both actions as being carried out by jeering Jews.<ref>{{cite web |access-date=2010-03-28 |url=http://www.umm.maine.edu/faculty/necastro/drama/chester/play_16.html |title=The Chester Cycle Play XVI (16) – The Passion of Christ – Annas and Caiphas |publisher=From Stage to Page |year=2007 |archive-url=https://web.archive.org/web/20120314010356/http://www.umm.maine.edu/faculty/necastro/drama/chester/play_16.html |archive-date=2012-03-14 }}</ref>

Processions on [[Palm Sunday]] commonly re-enact to some degree the entry of Jesus to Jerusalem, traditional ones often using special wooden [[donkey]]s on wheels. [[Holy Week in Spain]] retains more traditional public processions than other countries, with the most famous, in [[Holy Week in Seville|Seville]], featuring floats with carved tableaux showing scenes from the story.

====In Latin America====
During the Passion week many towns in [[Mexico]] have a representation of the passion.

====In Spain====
During the Passion week many cities and towns in [[Spain]] have a representation of the Passion.

Many Passion poems and prose text circulated in the fifteenth-century [[Castile (historical region)|Castile]], among which there were the first modern translations of earlier Latin Passion texts and ''[[Vita Christi|Vitae Christi]]'', and also a popular ''Monotessaron'' or ''Pasión de l'eterno principe Jesucristo'' attributed to a pseudo-Gerson. It was most likely written by Thomas à Kempis, whose ''[[The Imitation of Christ#Criticisms|Imitation of Christ]]'' mentions the Passion a few times, uniquely when talking about the Eucharist.<ref>{{cite book |author-first1=Laura|author-last1=Delbrugge| url = https://books.google.com/books?id=yOF5DwAAQBAJ&pg=PA46 | title = A scholarly edition of Andrés de Li's Thesoro de la passion (1494) | pages = 46–47 | publisher = Brill | series = Medieval and early modern Iberian world | volume = 41 | location = Boston | date = 3 February 2011 | oclc = 884810931 | isbn = 978-90-04-20120-0 | archive-url = https://archive.today/20190728112916/https://books.google.it/books?id=yOF5DwAAQBAJ&pg=PA46&dq=%22circulated+in+both+Latin+and+vernacular+translations%22&hl=it&sa=X&ved=0ahUKEwi-i4KbwdfjAhWCaVAKHUPbCi4Q6AEIKzAA%23v=onepage&q=%22circulated%20in%20both%20Latin%20and%20vernacular%20translations%22&f=false | archive-date = 28 July 2019 | url-status = live | access-date = 28 July 2019 }}</ref>

===Film===
There have also been a number of [[:Category:Film portrayals of Jesus' death and resurrection|films telling the passion story]], with a prominent example being [[Mel Gibson]]'s 2004 ''[[The Passion of the Christ]].''