Abstract

Father André Scrima is one of the most enigmatic figures of the Romanian Orthodox Church. Everything related to him passes as extraordinary. He was an exception among the Romanian intellectuals who suffered under communism. Beyond that, his journeys and spiritual experiences possess something indescribable, almost sacramental. His presence overwhelmed those who met him and his writings retained this trait. The present study focuses on Scrima’s Christology, highlighting its uniqueness and its practical implications. Although Scrima does not dedicate a book to the subject, all of his writings refer to it. However, due to his distinctiveness, it is difficult to organize his Christology in a systematic way. The most lucrative approach is to group his texts along the hermeneutical moments that define his writing: images, stories and stances. In Scrima’s logic, all words/signs are the very synthesis of a spiritual experience, all stories develop the theo-logical synthesis of the signs, and the relation between the stories forms the tradition as a set of interrogations and communitarian commitments. If we evaluate Scrima’s Christology in this manner, we do not come to a system, but to a succession of images. The core of these images re-mains the same, Jesus Christ, yet it is seen in nuances that unveil His beauty – Stranger, Gate, Logos, Name above all names –, in an unpredictable play of perspectives. It can be said that Scrima’s approach resembles a kaleidoscope, which, by using mirrors and light, gives an insight to the unsuspected possibilities of all fixed forms.