Explainer
Christmas culture
Culture
Middle East
7 min read

The mysterious Magi: outsiders, outlandish, Uyghur?

Many claimed the Wise Men, wherever the story was heard.

Benjamin is a DPhil student in the Faculty of History at the University of Oxford. He is researching the experience of Christian communities in medieval Central Asia.

Silhouttes of three wise men approach the Virgin and Child, painted on stone.
The Magi, Catacombs of Priscilla, 250AD.
Public Domain.

Our nativities are full of familiar figures. Mary and the angel Gabriel, Joseph and the landlords of Bethlehem (of varying hospitality), the shepherds above the town and the heavenly host. Finally, there come the three gift-bearers. While familiar, these perhaps remain the most mysterious guests at the manger. Are they three kings? ‘Wise men’? ‘Magi’? What indeed is a ‘magi’?  

Most of the features of our nativity come from the first two chapters of Luke’s gospel, but the magi (along with their counterpart, King Herod) are the primary contribution of Matthew’s gospel, appearing in the second chapter. The word used in Matthew is magi (magoi), a term that was often used for the priests of the Persian religion, today known as Zoroastrianism but in Antiquity known to outsiders simply as ‘magianism’.  However, in the gospel it is perhaps intended to carry less specific meaning, instead indicating more broadly those learned in esoteric knowledge, hence our common translation of ‘wise men’. We might be reminded of the class of experts who Nebuchadnezzar summoned to help interpret his dreams, over whom he promoted Daniel to be chief. These were people both knowledgeable and practiced in observing the patterns of nature, experts in hidden knowledge and science, propitiating and interpreting the divine, ‘magic’, alchemy, and astrology. Indeed, this is where we get our word magic from. It is someone of this kind who is intended by the other use of ‘magic’ in the New Testament, when in the book of Acts Simon the ‘magi’, having believed and been baptised, asks to buy the power of the Holy Spirit from Peter and John. Whichever definition is intended in Matthew, these are unexpected guests in Bethlehem.  

We learn very little further about them besides that they came from ‘the east’, to which they return as mysteriously as they arrived. Might they perhaps have been from one of the neighbouring eastern states that lay just outside the borders of the Roman Empire, such as Osroene, Adiabene, or Armenia, or even from the great Persian Parthian Empire? Parthia and its provinces were named specifically in the Book of Acts, but Matthew’s is a far more ambiguous reference. Indeed, many scholars would question the historicity of the episode of the magi’s visit, seemingly unrooted in time and place in contrast to the historical and geographical grounding of the rest of the gospels, and so clearly serving as a fulfilment of prophecy about the messiah. The old song of Psalm 72 says: “May the kings of Tarshish and of distant shores bring tribute to him. May the kings of Sheba and Seba present him gifts. May all kings bow down to him and all nations serve him.” Elswhere the book of Isaiah records: “The nations will come to your light, Kings to the brightness of your dawn… young camels will come bearing gold and incense, proclaiming the praise of the Lord.” When you see the gift-bearing magi represented as camel-riding kings on your Christmas cards, they are being shown as the fulfilment of these prophecies.  

Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi.

What is crucially important in their role as prophecy-fulfillers is that they are gentiles. Indeed, they are the first of those outside of God’s chosen people to recognise the Messiah. While Luke shows Jesus announced to the poor and humble among the Jews, rather than the priestly or royal, Matthew shows him recognised by the gentiles, the first trickle of a mighty torrent prophesied throughout the Old Testament: “All the nations you have made will come and worship before you, Lord,” sings the Psalmist. “In the last days the mountain of the Lord’s temple will be established… and all nations will stream to it,” records Isaiah once more. This is echoed also in Micah, the book quoted in Matthew by the chief priests to the magi: “The mountain of the Lord’s temple will be established, and many nations will come and say – let us go up to the mountain of the Lord.” These were outlandish claims and the magi represented the outlandish start of their fulfilment.  

Nevertheless, the magi in Matthew don’t float entirely untethered from historical reality, as they act out a story within the solidly historical setting of Herod’s final paranoia. His anxiety about the title ‘king of the Jews’, and his desperate massacre of the innocents both fit with what we know of his last days. For Herod, an Idumean (or Edomite), his questionable Jewishness had been a source of anxiety throughout his life, and he had become deeply unpopular by the end of his life, perceived as far too close to the Romans. Some scholars have suggested that Herod would have found fewer than a dozen infant boys around Bethlehem, as such it is unsurprising that his order is otherwise absent from the historical record. One of the few authors to cover this place and time was Josephus but writing almost a century later, he is much hazier on this period. He does, however, note that at this time Herod’s paranoia had driven him to kill three of his own sons, including his heir, historically much more significant and shocking. Josephus also claims, that on his deathbed Herod gave orders to have all the principal men of the entire Jewish nation killed when he died, to increase the mourning of the people, orders which were not carried out. 

That one day people of all nations and tongues would come to worship the God of Israel is one of the more outlandish claims recorded in the Old Testament. Even for early Christians, who were more actively seeking its fulfilment, it must have remained somewhat unimaginable, given they were still a minority in a corner of the Roman and Persian Empires who knew very well that human societies stretched on beyond their known horizons. By the Middle Ages, it was appearing a lot less outlandish. There were now Christians as far flung as Iceland, China, and Ethiopia. Christians in medieval Europe were dimly aware of just how widespread Christianity was, and they represented this in their stories about the magi. They imagined them as three kings (echoing prophecy and expounding scripture) from the three ‘petals’ of the world which connected at Jerusalem, representatives of the many gentile nations who would embrace the gospel. One for Europe, one for Asia, one for Africa; even in medieval Europe the church was understood as encompassing all three, and the magi were the first indication that it would.   

In Asia, ‘east’ of Jerusalem, the magi assumed different significance. Whether in Persia or China, claims were frequently made that the magi had come from their own place or people. Among the Christians of Mesopotamia (covering present-day Iraq and parts of Syria and Turkey), where Christianity had first arrived under the Parthian Empire, various legends were written about them in Syriac (a dialect of Aramaic). Here they often numbered twelve and were claimed as the founders of various churches and villages. Further east, and later, in the thirteenth century, an Armenian Christian lord, Smbat Sparapet, recorded in a letter that, while travelling across the Mongol Empire and visiting Christians in Central Asia and China, he had noticed they all decorated their churches with images of the magi. He recorded that the magi were believed to have originally come from China, from the region corresponding to present-day Gansu province. His brother, the Armenian king of Cilicia (south-east Turkey), who later made the same journey alternatively recorded that the magi had rather come from among the Uyghurs.  

The Turfan Oasis, lying to the north of the great Taklamakan desert in today’s Xinjiang province in China, also known as the Uyghur Autonomous Region, was home to a community of Uyghur Christians between at least the eighth to fourteenth centuries. One of the few surviving indications of their presence is a large collection of fragmentary manuscripts, preserved by the dry desert conditions. Among these is a unique legend concerning the magi, originally written in Syriac, but here translated into Uyghur. It preserves the account from Matthew but with some additions. For instance, the identification of the magi with the Zoroastrian priesthood is made explicit, probably owing to the original Syriac authors’ own familiarity living among the ‘magians’ of Mesopotamia. Most striking of all though is the word choice of the Uyghur translator. Approaching the infant Jesus, the magi hail him as ‘Khan Messiah, the son of Tengri.’ The magi’s royal gift of gold recognises Jesus as ‘khan’, a straightforward translation of ‘lord’ but one which carries local cultural resonance. Tengri, however, was the high God of the Uyghurs and Mongols. He was the creator, present everywhere, but associated particularly with the heavens. To see Tengri in Jesus was to see the mighty God who forged their own sky and steppe come to earth as infant and man.  

The popular legend that the magi had come from among the Uyghurs, which perhaps motivated this translation, connected their immediate reality to the distant settings of the gospel stories. Like the legends of the medieval west, this too served to communicate the truth that in the recognition of Jesus by the first gentiles, the magi, could be seen the start of the gospel’s journey to all gentiles, all nations, tongues, and petals.  

This Christmas, when you see the magi on your cards and in your nativity scenes, or you sing carols about three kings, think about the deep traditions that have formed these images, representations of prophecies fulfilled in Jesus, of the inclusion in the kingdom of all nations and of you too. 

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5 min read

Never Let Me Go: 20 years on

Ishiguro’s brilliant novel is the perfect Frankenstein story for today.

Beatrice writes on literature, religion, the arts, and the family. Her published work can be found here

Four young people peer through a window.
Carey Mulligan and Keira Knightley in the 2010 film adaption.
Fox Searchlight Films.

This article contains spoilers. 

Human beings are creative. For good or for evil, making new things out of raw materials is something that we can’t help doing, whether that’s writing new books, creating new recipes, or building new houses. Why are we born this way? Christians would say it’s because of the imago Dei: because according to the book of Genesis, the first book in the Bible, we are made in the image of God. If God created the world and every one of us, and if we’re made in his image, then it follows that all of us have this creative impulse within us, too.  

But if creating is something natural to us, does it follow that it’s also core to our identity as human beings? In other words, is making something that we do, or something that we are? Are we different from all other living creatures in this world by being creators ourselves?  

Although he doesn’t call himself a Christian, these are precisely the kind of theological questions the novelist Kazuo Ishiguro asks time and time again in his books. And nowhere does he ask them more powerfully than in Never Let Me Go, which was published 20 years ago. 

Never Let Me Go starts off as the story of three children at a boarding school. Kathy, one of three friends, serves as our first-person narrator; it’s through her eyes that we slowly realise something sinister is taking place. As Kathy, Tommy, and Ruth grow into teenagers and then young adults, it’s finally revealed that they are clones, brought into being thanks to advancements in cloning technology in a dystopian post-World War II Britain. They are brought up for the sole purpose of being organ donors. Or, to put it more bluntly, they’ve been raised for slaughter.  

Kathy, Ruth, and Tommy have a happy childhood at their boarding school, Hailsham. Their future is hinted at by their teachers, but they’re largely shielded from the truth. All around the country, we later find out, clone children are being raised in horrific conditions. But Hailsham is different, because its Headteacher, Miss Emily, is part of a group that believes the clones deserve to be treated humanely – at least until someone needs a kidney transplant.  

But, though treated in a ‘humane’ way, society doesn’t see the Hailsham clones as ‘human’, and that’s precisely what Miss Emily is trying to prove: that they are not unlike real, normal people. So, she encourages the children to make art. ‘A lot of the time’, Kathy tells us, ‘how you were regarded at Hailsham, how much you were liked and respected, had to do with how good you were at “creating”’. The children don’t understand why they must always paint and draw, but they’re told that Madame Marie-Claude, a mysterious figure, will collect their best artworks for a seemingly important ‘gallery’.  

Years later, Tommy and Kathy have become a couple. Before dying – or ‘completing’, as they call it – after her second ‘donation’, Ruth tells them that she believes a deferral is possible for couples that are truly in love. Kathy and Tommy go to Miss Emily’s house, their former Headmistress, certain that, as children, they were encouraged to produce art precisely to be able to prove, one day, their true feelings.  

They are quickly disappointed. Miss Emily reveals that Hailsham has now closed down, but that while the school stood, it was meant as an experiment, aimed at convincing the public to improve living conditions for the clones: 

‘We took away your art because we thought it would reveal your souls. Or to put it more finely, we did it to prove you had souls at all…we demonstrated to the world that if students were reared in humane, cultivated environments, it was possible for them to grow to be as sensitive and intelligent as any human being.’ 

Equating creativity with human identity does make sense, to an extent at least. In The Mind of the Maker (1941), Christian novelist and critic Dorothy L. Sayers argued that the closest we can get to understanding God as our Creator is through engaging ourselves in creative acts: ‘the experience of the creative imagination in the common man or woman and in the artist is the only thing we have to go upon in entertaining and formulating the concept of creation’. In creative acts, from a Christian perspective, we partially grasp God’s creation of us.  

Ultimately, however, being creative in imitation of God, is not enough to get to the very core of what defines a human being. There are all kinds of factors, from old age to mental or physical disability, that make any form of traditionally creative act highly unlikely for some people. By that definition, someone in a coma or a newborn baby is not fully human. 

That’s exactly the definition of humanity that underpins the cruel society of Ishiguro’s Never Let Me Go. We need a better definition, and Christianity provides a unique tradition to help us on the way. A Christian concept of the human person is one that looks both at why we were made, and what we were made for. Christians believe that God made us out of love, and for the purpose of being in communion with him. He made each one of us as a special and irreplaceable individual, and for each of us our telos – the end or aim of our life – is to join him in heaven.  

If we embrace this definition of what it means to be human, then the extent to which we are able to express our intelligence or creativity while on earth doesn’t really matter anymore. If we believe that merely to exist is good – not to exist and fulfil our potential through this or that accomplishment, but just to exist – then we can’t deny that each member of the human family is, in fact, a ‘person’ in the fullest sense of the word.  

It is precisely this God-shaped hole that makes the concept of human dignity so fragile and slippery in Never Let Me Go. Ishiguro’s brilliant novel is, ultimately, the perfect Frankenstein story for the modern day. It warns us about the consequences of what might happen if we try to treat other human beings as things we have paid, but even more powerfully it shows us the danger of valuing human life for its creativity, instead of loving it as the creation of God. 

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