On All Hallow’s Eve, we are taking a short look at the paintings of three early Chinese martyrs that adorned the monastery chapel of the Little Brothers of St. Johnthe Baptist in Anguo. These pictures illustrate the emphasis that Fr. Vincent Lebbe, the community’s founder, put on inculturation in all aspects of their monastic life, including the artwork in the chapel.
I assume he is depicted as a farmer with a hoe since he frequently hid out in
farms during his missionary activities.
Saint Paul
Liu Hanzou (保祿·劉翰佐), born in 1778, also hailed from
Sichuan and was a member of the Paris Foreign Missions Society. The future
martyr came from a fervent Catholic family. As he grew up in poverty, he had to
work from a young age and did not receive any schooling. By the time Paul entered
the seminary, he was already 24 and especially struggled with Latin. His
professors decided to let him finish his studies in Chinese. He was ordained at
age 35 and had to carry out much of his pastoral work clandestinely as a result
of the same persecution Saint Joseph Yuan was caught up in. Before a great
liturgical feast, Father Liu asked a recently converted carpenter to build a
canopy for the altar. A disagreement ensued and the carpenter took revenge on
the priest by denouncing him. Saint Paul’s fortitude during the trial enraged
the presiding mandarin, who ordered to have him scourged–a scourge is also
depicted to his right. The martyr endured a harsh
imprisonment for five months before also being strangled to death publicly in
Chengdu on 13 February 1818.
Saint
Lawrence Ba Xiaoman (白小滿) was a layman from Guizhou in southwestern China. He migrated to neighboring
Guangxi to find work, where he met Saint Auguste Chapdelaine in the mid-1850s,
subsequently converting and becoming a close follower of the missionary. When Father
Chapdelaine was sentenced to death, Lawrence spoke out against it, and therefore
was flogged and beheaded on 25 February 1856. At his public execution, he
exhorted his wife to keep the Ten Commandments and to teach the faith to their
daughter.
The saints’
depiction as laborers with tools was likely deliberate: the Little Brothers
lived an austere live among the farming communities of northern China and
performed ordinary manual labor.
(All pictures from the collection of Whitworth University)



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