The controverting surrounding the Apache Christ.

The Apache Christ controversy has sparked outrage among the faithful, with even experts expressing astonishment at the bishop’s efforts to remove the church image. Artistic depictions of Jesus Christ, often prioritizing local cultural expression over historical accuracy, have been a part of church history for centuries.

When worshipers from St. Joseph Parish in the U.S. state of New Mexico arrived at the church a few weeks ago, they were left shocked.

A familiar eight-foot image of Jesus Christ was notably absent from the chancel, its customary location for 35 years. Initial concerns about theft soon gave way to a different explanation: the painting had been intentionally removed at the request of the local bishop and carried out by a local priest.

The figure, in typical Indian dress, is standing on the sacred Sierra Blanca mountain, with a sun symbol on his left palm and a rattlesnake made of deer hooves in his right hand. At the bottom of the painting is the inscription ‘Giver of Life’ in the local language, and at the top is the Greek histogram IC XC, referring to the name of Jesus Christ.

Yet this is not the only reference to Apache culture in the church – the altar depicts the Last Supper, whose participants take Indian form, and the typical gahe headdresses worn by mountain dancers are enthroned above the Stations of the Cross.

The parishioners’ outrage was so great that the AP news agency and other media took notice of the case.
To understand the sensitivity of this case, it is important to know the wider context.
The false election
The historic parish is located on the territory of the Mescalero Apache tribe and was formerly administered by the Franciscan Friars. In the early 20th century, they had a stone church built there, and in 1989, one of them, Father Robert Lentz, with the approval of the tribal elders, decided to paint a picture of Jesus Christ that would reflect Apache culture.

Deacon Steven Morello, who pastors a group of Native American Catholics in the Archdiocese of Detroit, declared, “There is no conflict between Native American and Catholic spirituality, only harmony.” However, the recent actions of a bishop and priest, aimed at suppressing Native American elements in worship, contradict the Church’s concept of enculturation, Pope Francis’ efforts to reconcile with indigenous peoples, and the US Conference of Catholic Bishops’ statement that indigenous Catholics “do not have to be one or the other. You are both.”

The controversy began over a painting of Christ as an Apache warrior, which was initially removed by the bishop, only to be reinstated after a personal meeting with the affected community and a shift in priests. For local Native American Catholics, the image of Jesus is deeply personal, representing a divine figure who “meets you where you are and reveals himself in a way you can understand.”

This perspective reflects a broader truth: artistic depictions of Christ have always reflected the cultural expressions of their communities. Throughout church history, Christ has been represented in various forms, from ancient symbols like the Greek letters X and P, to more modern images like the Christ Pantokrator mosaic in Hagia Sophia.

The concept of Christ’s image taking on local characteristics without compromising its divine message is well-established. From a 14th-century Ethiopian gospel depicting Christ as a child to modern representations, artistic expressions of Christ continue to reflect and challenge contemporary perspectives. As Virginia Raguin, professor emeritus at the College of the Holy Cross, notes, “Art, like Christ, is deeply rooted in its time, yet transcends it.”