Chris Renaud

Boxers & Saints: A Christian Masterpiece

For millennia, humanity has yearned for great art. Countless works have been created,
sold, and lost in the eternal struggle for perfection. Some modern artists look back on the greats
of history, study age-old technique, and attempt to replicate the past. Other artists strive towards
a fiercely independent style and attempt to break the classic boundaries of artistic expression.
Modern Christian art has the same struggles. Christian art is stereotypically associated with
paintings of Christ, the disciples, the Crucifixion, the Resurrection, or other biblical events. Due
to prevalent cliches, a handful of Christian artists are changing the way they approach art. Gene
Luen Yang created the graphic novel series entitled Boxers & Saints, a two-part series about two
characters involved in the Boxer rebellion. In the book, Yang makes many religious allusions and
comments, and speaks to the Christian reader through the storys themes. Critics accused Yang of
being too reserved in his faith and overstating the religious themes of his book (which
contrast each other in a humorously ironic fashion). However, despite these criticisms, Yang has
created an artistic masterpiece. Boxers & Saints is exceptional Christian art because of its
creativity, validity, aesthetic excellence, and Christian worldview.

Qualifications of Good Christian Art

Modern Christianity fails to define good Christian art. Theologians and Christian artists
alike are often embroiled in conflict over what Christian art is, and what makes a great work
truly great. Writers such as Leland Ryken, Francis Schaeffer, Flannery OConnor, and various
other Christian intellectuals pondered the subject heavily, and produced qualifications an artistic
work must possess in order to be considered Christian. While many of these attributes are
worthy of mentioning, not all are necessary to determine an exceptional Christian work. A good

Christian work must be based on four principles: validity, creativity, aesthetic excellence, and an
authentic Christian worldview.
Validity
The artist who desires to create exemplary Christian art must create a genuine work that
truly reflects their thoughts and ideas. Validity (or honesty) is essential in creating a beautiful
work of art; in this context, validity can be defined as the artists worldview being truthfully
displayed, without any interference. This interference can include monetary gain, requests
from patrons, or even peer pressure. Many artists have succumbed to the modern critic; this fear
is not baseless. A poor review by a powerful critic may leave an artists reputation in shambles,
simply because the critic does not agree with the artists view on a particular subject: these
accusations may result in a loss of validity. Artists may also be motivated to abandon validity for
monetary gain. Thomas Kinkade personifies this concept. Critics frequently accuse him of being
repetitive and dull; ironically, this is exactly what Kinkade aims to do. Every one of
Kinkades works look identical, even to the untrained eye. Art director Mike McGee says this
about Kinkades artistic style: Looking just at the paintings themselves it is obvious that they
are technically competent. Kinkade's genius, however, is in his capacity to identify and fulfill the
needs and desires of his target audiencehe cites his mother as a key influence and archetypal
audience and to couple this with savvy marketing
"I share something in common with Norman Rockwell and, for that matter, with Walt
Disney," Kinkade says, "in that I really like to make people happy." Kinkade desired to make
people happy, and that singular purpose caused him to lose his validity in pursuit of monetary
gain. Even though he claims his art is Christian, it is not exceptional Christian art: it is simply a
vehicle to wealth.

Creative Effort
Creativity showcases the authors God-given talent and causes viewers to ponder what
they are seeing, and is required in exceptional Christian art. In fact, creativity is essential to the
artistic process. According to Leland Ryken in The Liberated Imagination, Creativity pervades
many human pursuits, but nowhere is it more central than in the process of artistic composition
(The Liberated Imagination, 65). Creative expression is valued by society today. History has
demonstrated that art is not meant to be appreciated for a short time, then thrown away. Multimillion dollar art galleries stand as tribute to the historic value humankind places on creativity
and the artistic mind. Art galleries do not simply display works; many usher patrons throughout
the showrooms by asking thought-provoking questions by means of text or recorded message.
Francis Schaeffer says this about art museums: I am convinced that one of the reasons men
spend millions in making art museums is not just so that there will be something aesthetic but
because the art works in them are an expression of the mannishness of man himself (Art & The
Bible: 2 Essays, 35). Schaeffer proves that humans do not value art simply because of their
aesthetic beauty; the creativity and message behind the works truly gives artistic processes and
works value. Creativity also provides writers and artists alike with new ideas and breakthroughs:
The imagination can present us with new thought-forms--new, that is, as revelations of
thought. It has created none of the material that goes to make these forms. Nor does it work upon
raw material. But it takes forms already existing, and gathers them about a thought so much
higher than they (The Imagination: Its Function and Its Culture, 101). The imagination (or
creativity) can create new form and thought from the old; it recycles old information and creates
new avenues of knowledge that humans have never set foot upon.

Creativity holds a unique position in Christian art. Ryken says this about creativity and
the Christian: Human creativity is rooted in divine creativity. Artists create because God created
first. Ryken also claims that God is introduced in Genesis as a creator. Genesis 1:1 says: In the
beginning, God created the heavens and the Earth. Gods first action towards mankind was one
of creation, demonstrating how important creativity was to Him. Christian artists should
recognize an artists creative effort when creating artistic works. Clichs should not be the basis
for modern Christian art. The power of new, concrete works far outweigh the effect of another
Crucifix or portrait. Artistic creativity is essential to good Christian art. According to Laurence
Perrine, the primal artistic act was Gods creation of the universe out of chaos, shaping the
formless into form; and every artist since, on a lesser scale, has sought to imitate him. Creativity
holds a special place in Christian art due to imago dei and Gods love of creative action. ...to be
creative in the arts, and to enter into the creativity of others, is to exercise the image of God
within oneself (In the Beginning, God Created, 5). The masses pursue and express creativity
since mankind is created in Gods image. What does the image of God in people say about the
artistic experience? It affirms human creativity as something good since it is an imitation of one
of Gods own acts and perfections They [people] create because they have been endowed with
Gods image (67). Creative art also helps point the lost towards Christ. Our art must point
toward God, a goal which demands from us an attitude of constant creative searching. We must
not allow creativity to be sacrificed by a system that thinks for us, talks for us, and acts for us.
Creativity is an exercise which must be cultivated (Artistic Creativity in Liturgy as Christian
Identity and Freedom: Against Consumerism and a Liturgical Monopoly, 91). Christian
creativity should not be sacrificed in order to fulfill a personal agenda or to simply send a
message; in fact, Christians should be able to create new and fantastic art. Using cliches as a

metaphysical crutch clouds the artists worldview, and lessens the impact of the work. If an artist
paints an image that relies on a cliche, it is not creative and therefore is not good Christian art.
Christian art must demonstrate creative effort so the artist can honor God in their painstaking
work and thought.
Aesthetic Excellence
Aesthetic excellence displays the God-given talent of an artist, and therefore determines
the effort and thought implanted in the work. Appearance is what defines art as art; what is on the
canvas is what enters the viewers mind first. Beauty is constantly shifting, but it continues to
capture the hearts of mankind: ... In the eighteenth century, majestic mountain scenery was
often avoided rather than recognized as sublime evidence of Gods creative power. Fashions in
art and literature change. But elusive and difficult to define though it is, true beauty continues.
Just as God has yet more light to shine forth from his Word, he has great dimensions of beauty
for us to comprehend in his creation and in mans making of art (What is Truth in Art?, 108). No
matter what the artists view is (and whether one agrees with it or not), critics and laymen alike
can agree that the artist is technically excellent. Martyn Amugen comments on the aesthetic view
of artistic talent: If we take the aesthetic argument, beauty must conform to certain traditional
rules like those advanced by Thomas Aquinas in his Tria Requiruntur: Three conditions of
beautyfirst, integrity or completeness, for broken things are ugly; second, due proportion and
harmony; third, brightness and colour (Humanization of Christian Sacred Art and its Erosion as
a Vehicle for Contemplative Intellection, 5). Without these qualifications, aesthetic excellence is
impossible. Beauty is the byproduct of aesthetic excellence, and aesthetic excellence must result
in beauty: the two are interdependent. On the other hand, an artist whose works lack aesthetic
excellence cannot communicate a clear message without noise; distracting elements such as

poor workmanship, a lack of attention to detail, and little clarity can cause a viewer to focus on
the flaws of the work instead of the worldview behind it. An artist who does not possess a talent
in the field should not pursue a career; instead, they should strive to discover Gods gifts for
them, and must refine those gifts in order to serve their Creator more effectively. Beauty is
unique in Christian art for this reason: beauty can be shown in the midst of a broken world.
Secular artists cannot look beyond the veil of sin they live under. However, Christians know the
cause of sin (the Fall), and know the solution (Christ). True beauty is held to a different standard
in Christian art: ...true beauty isn't achieved by willfully removing the signs of death, suffering
or brokenness. True beauty aims to find God's grace in unlikely and painful places (Death, Art
and the Fall: A Terror Management View of Christian Aesthetic Judgmenets, 302). By finding
Christs attributes in the middle of a twisted, wicked world, Christians can perceive beauty from
a radical perspective.
The Christian Worldview
Christian art is truly set apart from the secular world when it is true to the Christian
worldview. The defining feature of Christian art is the fact that it is made by Christians; no one
else can create works that truly define the religion. 1 John 2:20 states that We [Christians] have
an anointing from the Holy One, and all of you know the truth. Those who are unsaved cannot
truly understand a Christian worldview because they are without the Holy Spirits illumination,
and cannot understand Christs teachings with Christian translucence. The person without the
Spirit does not accept the things that come from the Spirit of God but considers them foolishness,
and cannot understand them because they are discerned only through the Spirit (1 Corinthians
2:14). Leland Ryken explains the concept of the Spirits revelation in one of his essays.
Although sin has skewed the world and clouded our judgement, we are still able to discover a

continued revelation through nature and the reason, in heart and conscience an illumination of
the Logos, a speech from the wisdom of God through the hidden working of grace (Liberal Arts
for the Christian Life, 75). Those who do not possess the Spirit cannot truly possess a Christian
worldview; therefore, those individuals cannot create Christian art. However, any practicing
member of Christianity knows that interpretation of Scripture is far from consistent in various
denominations today. One reason is the time period Christians reside in: We [Christians] are the
products of our traditions and cultural embeddedness. When we try to understand historical texts
we tend to bring them forward to our time and/or attempt to put ourselves back in the period
when they were written. Yet, we did not live in that time or culture and it is hard to escape our
horizon (view of the world) when we engage with the text. Therefore, we may fail to consider
accurately what the words meant in the culture and time when they were written (Interpreting
Scripture/Interpreting Law, 227). Culture changes over time, and Christians today cannot
perfectly relate to those in the past. Denominations also pose an issue on biblical interpretation.
On page three of Interpreting the Scriptures Together: Seeking the Visible Unity of the Church,
William Tabbernee explains his idea of ecumenical hermeneutics: Ecumenical hermeneutics
is ultimately a hermeneutic of generosity and hospitality. It is generous because it presupposes
that there is truth and insight about Christian faith and practice to be found in the communities of
faith, which are other than the particular one to which we belong. It is generous because it
presupposes that no one Christian community can lay claim to the whole of Christian truth and
apostolic witness. This explanation provides a glimpse of the vast scope of truth presented to
Christians. Various denominations emphasize a certain doctrine or theology, and support it at all
costs. Interpretive disagreement may also result from a lack of experience or personal growth;

the revealing of the Scripture is a process. One must study the Bible in great detail in order to
find the intent of the author and to glean truths from the passages.

Boxers & Saints as Good Christian Art

Gene Luen Yang has created an artistic masterpiece with his work Boxers & Saints. Yang
fuses the graphic novel with powerful dialog, skilled penmanship, and an unbiased perspective,
resulting in a realistic portrayal of the issues surrounding the Boxer Uprising. The story is told
from the perspective of two fictional characters, Little Bao and Vibiana. Each character struggles
with their identity, and tries to find a role in the Uprising. Yang contrasts the warlike, fierce
independence of Bao with Vibianas conversion and new faith; this dichotomy establishes two
works and perspectives essential to the story. Boxers & Saints qualifies as good art because of its
creativity, validity, technical excellence, and Christian worldview.
Validity
Gene Luen Yangs thirst for truth drives his novel, and confirms his validity. Boxers &
Saints takes place during one of the most controversial wars in history: the Boxer Rebellion. In
this war, the Chinese were subject to the empirical West and were forced to conform to many
cultural standards. With the Wests arrival came religion. Roman Catholicism began to sweep
across the land, and many Chinese were drawn to the religious group. As a result, nationalist
Chinese attempted to purge the country of the foreign devils and their religion, which
represented Western culture. Yang focuses on this conflict during the book series, and stays true
to the facts of the war. Both sides are seen as malicious and dangerous. Bao witnesses his town
idol being destroyed, his father being nearly beaten to death by foreigners, and his religious
views being challenged (Boxers, 19, 26, 83); these events fuel his hatred for the West. Vibiana
sees her own people being slaughtered by the Boxers, and discovers the calling of Christ at the

end of the novel. Both perspectives are legitimate, and each hold sway and validity to the reader.
This speaks to Yangs honesty; he did not attempt to appease his Catholic brothers and sisters by
holding elevating them to a higher level, and he did not claim the Chinese to be virtuous
protectors of the common folk. By telling the truth about the events surrounding the rebellion
and not catering to either audience, Yang stays true to his intent and captures the essence of
validity. Yang also demonstrated his validity by the medium he used. Many storytellers and
writers alike utilize the common book to tell a wild and powerful tale. However, Yang used his
medium--his best talent--in order to deliver a powerful experience. Skepticism surrounds comic
books today, and Yang was subject to the same misgivings from his audience. Yang stayed true to
his medium, and by that, was able to create one of the best works of Christian art in the last
decade.
Creativity
Boxers & Saints unique perspectives and unusual medium display the power of
creativity. Yang began the story of the Boxer Uprising from an unusual medium; the graphic
novel. Writers and readers alike often degrade the genre due to its supposed lack of authenticity
and depth. In spite of these accusations, Yang crafted Boxers & Saints, and clearly demonstrated
the genres capabilities. Boxers begins with a cultural introduction, then quickly shatters all
presupposed notions. The Chineses symbol of culture, Tu Di Gong, is destroyed by a foreign
priest after a mere fourteen pages (Boxers, 14), and creates a violent reaction in the village. Yang
seems to create a bias from the beginning of the book: western religion is bad. Ironically, Yang
himself is a Roman Catholic, a convert to the same devil religion the characters in Boxers
attempt to exterminate. Yang immediately challenges Western thought at the beginning of the
novel and attempts to create level footing between the two cultures. Yangs storytelling exhibits

an overwhelming amount of creativity. Instead of presenting an overview of the two conflicts,

Boxers & Saints gives two differing perspectives from two different individuals, Vibiana and
Bao. The characters represent the two opposing Chinese factions, and all the trials these two
groups endured throughout the struggle. Yang does not stop there. The reader is slowly won over
by Baos loyalty, bravery, and devotion to his village; later in the graphic novel, Bao begins to
make immoral decisions based on his nationalism. The reader is then forced to decide if Bao is
still a legitimate hero, or if he is simply a vagabond warring against the good of foreign
influence. Vibiana is also subject to such a juxtaposition. The young girl joins the foreign
devils in order to become a better demon; at the end of Saints, Vibiana is forced to choose her
religion or her country; she ends up a martyr for Christendom. The reader is forced to decide
whether the converts motives are pure or simply for her own protection. These scenarios reveal
each side of the Boxer Rebellion to be blemished, casting a dark shadow on the conflict and
creating an aura of creativity few writers can replicate.
Aesthetic Excellence
Yangs graphic novels demonstrate superior artistic talent through his use of pictures and
word form. Aesthetic excellence is not only required in secular art, but Christian art as well.
Gustafsson says this about Christian art: ... it [beauty] is the aim of Christian art, on my thesis,
to manifest the beauty of God (The Beauty of Christian Art, 176). Good Christian art should not
be simply be a means to communication: it should be beautiful in order to properly manifest
Gods glory. In Boxers, Yang used a varied palate in the pages, creating a greater variety of
artistic expression. However, Saints is full of powerful images that open the mind and
imagination. Yang demonstrates aesthetic excellence repeatedly throughout his graphic novels,
but Boxers and Saints both possess a particularly interesting splash panel that showcase Yangs

talent. In Boxers, the goddess Guan Yin is pictured in a large splash panel, with Bao and Mei
Wen bleeding into the image. The goddesss hands are outstretched in an open gesture, as if
welcoming all who suffer. Guan Yins hands are also unique; emblazoned on each palm is a large
eye, signifying the goddesss search for the suffering. These hands fan out behind her form and
cover the entire panel background. Yang demonstrates his artistic talent with Guan Yins features
as well. By drawing the goddesss clasped hands and commanding symmetry, Yang creates a
sense of watchful vigilance in Guan Yins form. Yang also turns the goddesss gaze upward,
giving her an esteemed appearance. Guan Yins long, flowing robe, golden embroidery, white
veil and ornate headpiece also contribute to her esteemed look (Boxers, 282).
In Saints, Yang paints a picture that also demonstrates aesthetic talent and beauty. He
nearly replicates his drawing of Guan Yin; however, the central character of this work is Jesus
Christ (Saints, 158). Instead of signifying Christs compassion through scriptural references and
allusions, Yang creates a startling cultural image. Christ is pictured in his typical crucifix form;
hands and arms open, and his body standing erect. However, Yang makes some subtle changes in
order to convey Christs power and compassion. Guan Yins personal symbol (the eyeemblazoned hand) is copied directly on to Christs image. Also, Jesuss hair and robe are blowing
in the wind; this symbolizes the Lords power, and His majesty. His face seems to be staring at
the reader, and not Vibiana as if He intends to give a message to the viewer. Jesuss robe and sash
are relatively simple clothing and force the reader to focus on Him alone. Just as Guan Yin had
hundreds of hands surrounding her form, Christ does as well, creating a powerful thread of
compassion throughout Boxers and Saints. Christs tomb is also pictured behind Him, with the
stone rolled away; this again speaks to the unfathomable power of the Savior. Yangs artistic
ability is clearly shown in both images and validates his work as good Christian art.

Christian Worldview
Yang integrates his Christian worldview throughout the text, and is true to this view
throughout the novel. Roman Catholic undertones are obvious throughout the work. Boxers
begins with a cultural standoff; Chinese natives find themselves embroiled in a conflict with
foreign powers, and must decide whether to join the foreigners or remain with China. After Tu Di
Gong is smashed (Boxers, 19), Bao is thrust into the same conflict. Yang (a professing Christian,
and Roman Catholic) spared no details, even when his own religion exercised immorality. Yang
incorporates his worldview in several different ways. First, Yangs choice of story was heavily
influenced by his nationality and his faith. In an interview with the Catholic magazine
Sojourners, Yang explained what chose him to write about the Boxer Rebellion: In 2000, Pope
John Paul II canonized 120 Chinese saints [known as the Martyr Saints of China87 Chinese
Christians and 33 Western missionaries]. I grew up in a Chinese Catholic community in the San
Francisco area and my home church freaked out about itthey had celebrations, food, special
Masses. When I looked into the lives of these saints, I discovered that many of them were
martyred during the Boxer Rebellion. The more I read about the Boxer Rebellion, the more
conflicted I felt. I just couldnt decide who I sympathized with more: The Boxers, these young
men who felt powerless, who saw this war of incursion into their lands, or these Chinese
Catholics, these Christians on the other side. Yangs validity is verified in Boxers & Saints:
neither side appears to be the oppressor (or the oppressed, respectively), and the reader can
sympathize with either cause. Yang also used Catholic symbols, morals, and tradition in Boxers
& Saints. On page 15 of the novel, the cheat returns with his cohorts, bearing a cross on his
neck. This symbol not only confirmed his invulnerability, but also advertised his newfound faith.
Father Bey is also subject to scrutiny. His long nose and hairy hands set him apart from the rest

of the Chinese village: his meager robe and open-toed sandals give him a priestly appearance,
and makes him appear unnatural to Bao. Saints allowed Yang to showcase the Catholic faith.
Vibiana is first exposed to the foreign devils through the acupuncturist Dr. Won. He explains
the story of Christ to Vibiana, who promptly falls asleep (34). Vibiana eventually decides to
become part of the Church, and participates in a bevy of traditional actions. Yang successfully
integrates his faith into Boxers & Saints, demonstrating his genuine Christian worldview.
Truly great Christian artwork possesses these four qualities: it has creative effort, is valid
(honest) to the artists worldview, has aesthetic excellence, and is true to the Christian worldview.
In Boxers & Saints, Yang is able to include all these criteria. His creative perspective and vehicle
on the Boxer Rebellion draw the reader in, and his honesty towards his worldview helps create a
genuine tale. Yang also exercises his incredible artistic talent through color-saturated drawings,
stoic images, and graceful dialog. Yang incorporates all of these elements into his Christian faith,
and incorporates his Christian worldview into all of his writing. Boxers & Saints has
revolutionized the graphic novel and comic strip. These mediums are no longer intended simply
for a good laugh or joke; they can be used to communicate new ideas and controversial views,
causing the reader to think and ponder the message of each panel. Exceptional Christian art is not
confined to a canvas or glass window, and Yang reinforces this fact with a superior work of
Christian creativity.

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