Baptismal Imagery in Early Christianity: Ritual, Visual, and Theological Dimensions by Robin M. Jensen
Baptismal Imagery in Early Christianity: Ritual, Visual, and Theological Dimensions
Grand Rapids, MI: Baker Academic, 2012
Pp. xviii + 238. $24.99.
Neither a systematic treatise on baptismal theology, nor a chronological account of the historical development of baptismal practices, Robin Jensen’s Baptismal Imagery in Early Christianity is an extensive catalogue of early Christian baptismal images with attention both to their historical contexts and to their “ritual, visual, and theological dimensions,” as the subtitle advertises. Jensen draws on her expertise in early Christian art and texts to guide neophytes into an appreciation of these varied dimensions by introducing relevant biblical passages, patristic texts, inscribed sarcophagi, ornamented baptisteries, and other iconography. This ambitious undertaking is necessarily wide-ranging, Jensen argues, for early Christian baptism was “a synthetic ritual; it comprised multiple purposes and manifold meanings” (2).
To bring some semblance of order to the jungle of images, Jensen divides her treatment into five chapters, each treating one “core motif” or “baptismal effect.” The first chapter presents “Baptism as Cleansing from Sin and Sickness,” beginning with a basic overview of the New Testament descriptions of Jesus’ baptism by John and subsequent theological reflections on this event by Ignatius of Antioch, [End Page 639] Tertullian, Cyril of Jerusalem, and others. (Throughout the book, Jensen includes familiar Greek and Latin authors, as well as a sprinkling of Syriac authors like Narsai and Ephrem.) Moreover, Jensen enriches the discussion by introducing and analyzing portrayals of Jesus’ baptism by John in early Christian sarcophagus carvings and wall paintings, with helpful illustrations in grayscale. Finally, Jensen supplements the discussion of texts and images with a detailed treatment of early Christian rituals that signified cleansing and healing: scrutinies, exorcisms, the giving of salt, exsufflation (blowing in the face of a candidate for baptism), ascetic disciplines, stripping, and anointing. This chapter, like others, veers towards the encyclopedic, although Jensen does provide a short conclusion to each chapter that recapitulates the main brushstrokes of her depiction.
Chapter two proceeds to varied understandings of baptism as “Incorporation into the Community.” Jensen describes how the newly baptized were incorporated into “a new family, a new race, and a new class” (54). Drawing on literary and visual images, she describes how early Christians were also portrayed as fish and sheep. Again, this chapter ends with a treatment of rituals: enrollment, actions of sponsors, marking with the sign of the cross, and the holy kiss. This chapter is the shortest and the most cohesive; the following three chapters are more wide-ranging.
Chapter three, “Baptism as Sanctifying and Illuminative,” addresses the gift of the Holy Spirit and its effects. Jensen canvasses relevant New Testament texts before moving onto discussions of anointing in ancient Israelite religion, early controversies over waterless baptism, and the varied anointing practices in eastern and western churches. Jensen’s lengthy treatment of the role of milk and honey in baptismal thought and practice is fascinating (122–27), although its link to the main theme of the chapter seems tenuous.
Although chapter four is entitled “Baptism as Dying and Rising,” Jensen devotes much of the chapter to the idea of baptism as rebirth. Of particular note is her survey of birthing metaphors in literary texts, a survey complemented and enhanced by her discussion of the baptismal font as maternal womb. This chapter is richly illustrated with photographs provided by the author.
Finally, chapter five describes “Baptism as the Beginning of the New Creation,” focused on the images of Adam and Eve. Biblical imagery predominates: the Jordan River and the river of life described at the end of the book of Revelation; Moses striking the rock in the wilderness; the Samaritan woman at the well (to whom Jesus promises “living water” in John 4.10); and bridal imagery from the Song of Songs and elsewhere. Not all of the material in this chapter appears equally relevant, however. For instance, Jensen discusses images of the miracle of Jesus at the wedding in Cana but nowhere explains how this story relates to the concept of baptism as “the Beginning of the New Creation.”
While one might suggest the inclusion of separate chapters on “Baptism as Rebirth” and “Baptism as Liberation from Sin and Bondage” or challenge other aspects of Jensen’s division into five “core motifs,” one must also admit that these weaknesses constitute the flip side of the book’s strength. After all, it is precisely the rich variety of early Christian imagery that both makes clear-cut categorization so difficult and makes Jensen’s contribution so valuable. Furthermore, Jensen [End Page 640] readily acknowledges that each chapter and its corresponding effect “in some way overlaps with some or all the others” (4). She has set out “both to provide a visual and textual resource for students of early Christian liturgy and to show the symbolic and sensual dimensions of ancient rituals” (xi).
And she has achieved this dual purpose. As the book stands, it is an attractive, accessible, and affordable introduction to key baptismal motifs in early Christianity, and Jensen has thus rendered a great service to students and scholars of early Christian art, liturgy, and theology.
