Rubens' painting "Descent from the Cross" is a religious asceticism. See what "Descent from the Cross" is in other dictionaries
The Descent from the Cross is a picturesque depiction of the scene of the removal from the cross of the body of Jesus Christ, described in the Gospels. "Descent from the Cross" painting by Raphael Santi, 1507 "Descent from the Cross" painting by Cigoli "Descent from the Cross" painting by Peter Paul Rubens "Descent from ... ... Wikipedia
Peter Paul Rubens Descent from the Cross, 1612 Kruisafneming Oil on wood. 420.5 × 320 cm Cathedral of Our Lady of Antwerp, Antwerp ... Wikipedia
This term has other meanings, see Descent from the Cross (picture) ... Wikipedia
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Peter Paul Rubens ... Wikipedia
This term has other meanings, see Exaltation of the Cross (Rubens) ... Wikipedia
Joseph of Arimathea- [Greek. ᾿Ιωσὴφ [ὁ] ἀπὸ ᾿Αριμαθαίας; lat. Ioseph ab Arimathea], St. rights. (commemorated on the Sunday of the myrrh-bearing women; commemorated in Greek on July 31); an influential member of the Sanhedrin and a secret disciple of Jesus Christ (Mt 27:57-60; Mk 15:43-46; Lk 23:50-53; Jn 19:38-42). I.A.… … Orthodox Encyclopedia
GOOD FRIDAY- [Cherkovnoslav. ; Greek ῾Η ἁγία καὶ μεγάλη Παρασκευὴ; lat. Feria VI in Parasceve], Friday of Holy Week, one of the main days of the church calendar, dedicated to the memory of the day of redemptive suffering and the death of the Cross of the Lord Jesus Christ. ... ... Orthodox Encyclopedia
WATOPED- [Greek. ῾Ιερὰ Μεγίστη Μονὴ Βατοπαιδίου, Βατοπεδίου; Βατοπαίδιον, Βατοπέδιον], in the name of the Annunciation of St. The Virgin is a sociable husband. mon ry; located on the shore of a small bay, located approximately in the middle of the sowing. east the coast of the peninsula of Athos ... ... Orthodox Encyclopedia
Books
- Descent from the Cross
- Descent from the Cross, Paul Clemens. The corpse of a young woman was found in the park of an old French castle. A few days later, someone kills the castle keeper. Then the murders follow one after another: an elderly lady from ...
Jesus Christ, crucified on the cross, was removed from him for burial, and a miraculous icon was painted in honor of this event. Orthodox believers pray before her, asking the Higher Powers for protection and patronage.
Believers know several icons that depict the events of the last days of Jesus' earthly life. There are also icons depicting events that occurred after the execution of the Savior. The icon "Descent from the Cross" for everyone serves as a symbol of salvation.
History of the icon
The follower of Jesus and his secret disciple Joseph received permission from Pilate himself to remove Jesus from the cross standing on Mount Golgotha. Joseph took another disciple, Nicodemus, as his assistant, and together they removed the body of the Savior in order to bury him. According to custom, the body of the Lord was smeared with incense and wrapped in a shroud. The body was placed in a coffin, which was placed in a cave located not far from the place of execution. This event was reflected on the icon, which is revered among believers and helps them fight evil and negativity.
Description of the image
In the very center of the image, against the background of the cross, the body of Christ is depicted, which is supported by his disciples. Nearby are myrrh-bearing wives, ready to smear his body with incense. They are on the left side of the icon, behind the disciple of Christ, Joseph. The Mother of God is depicted with her cheek pressed against the body of her son, and at the foot of the cross are two disciples, taking out nails from the feet of the Savior. In Russian icon painting, a plot describing the removal of the Lord from the cross appeared in the 14th century, as indicated in the surviving manuscript sources.
What helps the icon "Descent from the Cross"
Before the holy icon, Orthodox believers pray not only to ask for help and protection, but also to glorify the Lord and his sacrifice. In prayer, words of repentance for sinful deeds and thoughts often sound, requests for blessings for difficult deeds associated with the risk to life. Believers also pray in order to free themselves from bodily and mental wounds, find spiritual comfort and resist negativity. Often, people resort to prayer in front of the icon before complex operations, so that the treatment goes well. With any difficulty or in order to establish oneself in the faith, prayer words can be offered up in front of the icon.
Where is the divine image
The popularity of the icon grew, and now copies of it can be found in many temples and churches throughout Russia:
- Yaroslavl region, Semenovskoye village, painting on the wall of the Church of the Holy Mother of God;
- Yaroslavl region, Khaldeevo, remains of paintings on the walls of the Kazan Church;
- Moscow region, Belousovo village, painting on the wall of the church named after Michael the Archangel;
- Kostroma region, church in Nerekhta;
- Republic of Karelia, Church of the Intercession;
- city of Murom, painting in the Church of the Ascension.
Prayer before the icon
“Lord Almighty, who by His sacrifice atoned for all the sins of earthly people, believers and unbelievers in You. Bless your servant (name), help him live with dignity, get rid of the negative that denigrates the soul, and from the influence of the harmful. Save and save, Lord, my family and all living on earth. Stand up for the weak in spirit and show them the right path. Amen".
Date celebration icons
Orthodox believers revere the icon during Holy Week, on Holy Saturday. At this time, they remember not only the removal of the Lord from the crucifixion, but also his descent into hell for the souls of the righteous martyrs.
Often there are moments in people's lives when they cannot do without Divine support. In difficult times, pray to the Higher Forces and ask for help from your heavenly patrons. It is not necessary to go to church every time to offer the words of prayer. This can be done at home or on the road, the main thing is that your faith is sincere, and the words come from the heart. Happiness to you, and do not forget to press the buttons and
05.04.2018 03:18
The icon of the Lord Almighty is one of the most important symbols of Orthodox believers. The famous image of Jesus Christ...
Rubens' painting "Descent from the Cross" (1612-1914) is the second of the painter's great altarpieces, which was painted for the Cathedral of Our Lady in Antwerp.
Historical part
The work consists of three parts. The left one is "The Meeting of Two Sisters", the central one is "Descent from the Cross" and the right one is "The Presentation". The Descent from the Cross is a Baroque painting by Rubens influenced by the Venetian school. The color scheme, as well as chiaroscuro, are reminiscent of the works of Caravaggio of the Roman period, who laid the foundation for realism and from a young age thought about the frailty of life.
The central panel 421x311 cm is considered to be the basis. Two side panels are equal in height to it, and 153 cm in width. This work never left Flanders. Only Napoleon, having conquered the country in 1794, took him to Paris. After his defeat in 1815, Rubens' painting "Descent from the Cross" returned to his homeland.
Mary and Elizabeth
The left panel describes the meeting between Mary and Elizabeth after the Annunciation, when the elderly and childless Elizabeth finally became pregnant.
At this time, the baby jumped in the womb of Mary, and Elizabeth was filled with the holy spirit and solemnly and enthusiastically announced to the Mother of God her future. There is an assumption that Rembrandt's model of Mary was the young pregnant wife Isabella Brandt. From left to right, the life of the Savior appears to us - Rubens' painting "Descent from the Cross".
Composition Center
There are nine figures on the central panel. Compositionally, they are arranged diagonally. This gives dynamism to the action. Holding the fabric with their hands and teeth, the workers who are upstairs carefully and carefully remove the body of Christ from the stairs.
Saint John in red robes stands with one foot on the stairs. His whole figure arched to support the body in the most vigorous way. So depicts the “Descent from the Cross” by Rubens. One of the Savior's feet, with bloodied traces of a nail, easily touches the beautiful shoulder of the Magdalene with golden hair.
The body of Christ with a head that fell on his shoulder, which is not mutilated by death, gives the most accurate idea of the bitterness of the end of life's journey. Rubens' painting "Descent from the Cross" tells about this. The body of the Savior glides without strength over the veil, which everyone carefully supports. Joseph of Aramaea and Nicodemus, located on the sides of the stairs, together with the workers form a square. The Mother of God in blue mourning robes stretches out her hands to the Son. In the right corner near the stairs there is a copper basin where nails are collected, and a crucifix in gore. The daylight goes out. The crowd has already dispersed.
Left panel - Candlemas
It depicts the former Roman Repev, and now the patron of the Order of the Arquebusiers, who commissioned a painting meeting the Holy Child to be carried across the river.
The child was very heavy, as he carried all the burdens of the world. Later, Christ baptized the giant Repev under the name Christopher.
"Descent from the Cross" - a painting by Rubens, in which he voluntarily or involuntarily showed his technical skill in all its brilliance. Rubens created the image of Christ, revealing it in its entirety. The painter became not only a great secular, but also the greatest religious artist. Color, form and composition gave an explanation, interpreted the faith of his contemporaries. This concludes the description of the painting by Peter Rubens "Descent from the Cross".
18.04.2014Throughout history, Christian art has developed along two artistic lines: Eastern Orthodox and Western Catholic. The fundamental differences between East and West lie in the traditions they follow.
The East adopted the ancient Christian heritage and multiplied it, mastering the path of deep spirituality and symbolism. The Western way, based on the obsolete culture of pagan imperial Rome, was influenced by secular ideas and developed through the prism of the sensory-aesthetic perception of the world. However, over the years, these areas have interacted with each other.
The ideas and images of Western Europe penetrated into Russian culture, mainly from the 18th century. Church art, educating religiously and aesthetically, has always been the most important basis for the formation and development of the national cultural ideas of the people.
Making sense of the East
The removal of Jesus Christ from the cross is described by all four evangelists who associate this event with the name of Joseph of Arimathea. Joseph was a wealthy and distinguished member of the Sanhedrin. Evangelist John (19, 38) says that he was secretly a disciple of Jesus Christ, but that fear did not allow him to openly express his feelings. When the great sacrifice was made at Golgotha, he was not afraid to ask Pilate for permission to bury the body of Christ. Together with Nicodemus, who brought myrrh and aloes, they wrapped the body of Jesus in linen with spices and buried him in a rock-cut tomb that belonged to Joseph. The scriptures do not mention the rest of the participants, therefore, as a rule, the artists also depict the characters of the burial of Christ: John the Theologian, the Mother of God and the myrrh-bearing women.
The beginning of the 13th century was a turning point for Byzantium: it was at this time that a fundamentally new style emerged that found true harmony. In an atmosphere of restrained and profound spirituality, ascetic thought, ascetic search, a reaction was born to everything superfluous, extravagant in the art of the late 12th century. Among the striking examples of the new artistic language in miniature, the “Descent from the Cross” (Byzantium, XIII century, storage - Athos) has been preserved.
The multi-figure composition of the miniature is balanced and concise. The simplicity of architectural motifs only outlines the space, focusing attention on the main event. The symbolism and conventionality of the images create an intonation of special emotional humility, trustfulness, sincere openness, meekness. The generalization of the form has persuasiveness, enhances the expressiveness of clearly readable silhouettes. The plasticity of images is full of deep compassion and love. The color is based on the cold tones characteristic of this period. The central figures are Joseph, who receives the body of Christ. The figure of Joseph plays an important role in the composition: he becomes a support, a successor, a devoted disciple of Christ. Those present become the embodiment of true love.
The Byzantine tradition on Russian soil acquires shades of national sound. In the icon of the XV century (Central Museum of Ancient Russian Culture and Art named after Andrei Rublev) of the same plot from the iconostasis of the Assumption Cathedral of the Kirillo-Belozersky Monastery, stylistic features belonging to the Rostov art school can be traced.
The master of the Cyrillic icon follows one of the complex compositional solutions of this scene, common in Byzantine art of the 14th century. The composition of the icon is similar to the above, but the position of the figure of Christ is different, creating dynamics and a special rhythm. Joseph seems to be handing Jesus over to the Virgin Mary, who touches his cheek. The forms are enlarged, monumentalized, the features of the faces acquire an accentuated static character, geometric outline, there are no extra details. Forms are modeled very tightly, plasticity is enhanced. Contrasts of chiaroscuro become the leading means in the formation of the ideal volume. All these artistic techniques were conscious and purposeful searches for the return of the prayerful content of the icon, the return of the light of the Prototype to it, because in the Christian image “more than the external, the inner shines”. Everyone who is depicted here has an approximately equal inner content, which makes the one looking at the icon feel the infinity of immersion in the spheres of sublime reflection. They combine composure, restraint, strength and power of mind. Numerous shades of flowers, assists (in icon painting - strokes of gold or silver leaf on the folds of clothes, feathers, angel wings, on benches, tables, thrones, domes, symbolizing the presence of Divine light, replacing spaces, - ed.), a light background carry the idea of Divine beauty.
The next stage in the development of icon painting reflects changes in the very worldview of the people. In the icon of the turn of the 16th - 17th centuries (Byzantine Museum in Athens), the Greek master brilliantly works on the external technical side.
The composition uses a rectilinear perspective, which opens up a view of the city from Golgotha. The icon painter is trying to combine the basics of traditional icon painting and painting, traditional iconography with elements of a landscape and portrait, the liveliness of light and shade modeling of faces with different textured elements of dolitic painting (a term of Old Russian painting that denotes the execution of landscape, architecture, utensils, clothes - everything except for faces and not covered by clothes). body parts, - ed.). In the prescribed architectural landscape, the influence of the Western school is read. The number of figures doubles.
The architectonics of the icon is divided into two multi-figured parts: the removal of Christ and lamentation. The myrrh-bearing women, emotionally experiencing the death of Jesus, comfort the Mother of God at the foot of the cross. The complex compositional solution, the proportions of the figures and the richness of color speak of the high artistic level of the icon painter, but less and less attention is paid to the inner spiritual side. Gradually, their deepest integrity and spiritual power are dissolved in the beauty and sublimity of the images.
Western perception
In Western artistic culture, the images are more bodily, naturalistic, accentuated by the dominant idea of martyrdom, sacrifice. Catholics especially revere the images of the crucified Christ, since the cross is the main symbol of Christ's victory over death.
One of the most famous canvases on the theme of "Descent from the Cross" is the central part of the triptych by the Flemish artist Rogier van der Weyden (Prado National Museum).
The artist departed from the canons of composition. He painted the Virgin Mary, fainting, in the same position as Christ. Thus, creating a special rhythm in his composition, which symbolizes the mystical devotion of the mother. The emotional impact of the painting is enhanced by an overloaded multi-figure composition in a cramped space, a large number of details and a variety of color ratios. Numerous symbolic details are present in the painting. Color spots of red and white create interweaving symbols of purity and passion of Christ. The movement of the hands of the central figures directs the viewer's gaze to the skull of Adam, symbolizing the essence of redemption. Rogier van der Weyden paints naturalistically weeping women, the deathly-pale face of the Mother of God, mournfully concentrated facial expressions of the students, enhancing the viewer's emotional involvement in the events. The author deeply and subtly understands and conveys various deep psychological states of the characters.
In 1603, Michelangelo da Caravaggio created for the Roman church of Chiesa Nuovo an innovative work "The Entombment", which reveals the same theme. Composition takes on a deep meaning here.
The scale of the picture, the point of view, the slab that illusory breaks through the space, John's gaze directed at the viewer draws the viewer into the picture, he becomes a participant in the ongoing events. The powerful contrast between light and dark is a hallmark of Caravaggio's religious painting. This technique also strongly, like the composition, includes the viewer in the picture. The pale body of Christ is illuminated by the light of divine grace, there is no peace in the upturned face, but there is no death grimace either. At first, the Virgin Mary seems calmer than others, but how much terrible grief is in this calmness. She does not hide her face, does not avert her eyes, cannot lose consciousness. The cold blue stain of the cloak, thrown over the head over a white scarf, is darker and stricter than the deepest mourning. The physiological details written out with amazing accuracy create a special impression. Swollen veins on the body, dirt under the nails, wrinkles on the faces - all this makes the story of Christ more humane, more vitally felt. The spiritual aspect of the plot, in the Orthodox sense, recedes into the background. The mournful expressiveness of the intonation of the picture is striking in its power of influence.
Continuing the theme, it is interesting to consider the pronounced baroque aesthetics. An outstanding example is the central part of the triptych "Descent from the Cross" by Peter Paul Rubens for the Cathedral of Our Lady of Antwerp. This picture brought the artist fame as the most talented religious master throughout Europe.
Rubens masterfully depicts the moment when the body of Christ, freed from the cross, must fall into the strong hands of John the Theologian. A dynamic rich composition with a diagonal construction, lively light writing, glazing and the subtlety of transparent textures create the impression of movement and life of the picture. With the help of chiaroscuro elaboration, the artist creates dense, sculptural, but not heavy figures.
Joseph of Arimathea, standing on the stairs, supports the body of Jesus by the arm. The kneeling holy women carefully help, and the Mother of God approaches Christ to receive his body. She is collected and focused. An interesting technique is used by Rubens to highlight the figure of Christ: a white shroud becomes the background of the figure, creating a special glow around Jesus. This manner is reminiscent of Caravaggio, but it has a different meaning. On the right in the foreground there is one of the pages of the Holy Scripture and a copper basin, where the crown of thorns and nails from the Crucifixion in gore lie - symbols of the Passion of Christ.
Thanks to the genius of Rubens, the program baroque work becomes a deeply felt and realistic work. From a technical point of view, this canvas is a triumph of color, composition and form, from a meaningful point of view, it is a meaningful, serious religious creation.
On the same evening, shortly after all that had happened, the famous member of the Sanhedrin, the rich man Joseph of Arimathea (from the city of Arimathea) came to Pilate. Joseph was a secret disciple of Jesus Christ, secret - out of fear of the Jews. He was a kind and righteous man, who did not participate in the council, in the condemnation of the Savior. He asked Pilate for permission to remove the body of Christ from the cross and bury it. Pilate was surprised that Jesus Christ died so soon. He called the centurion who guarded the crucified, learned from him when Jesus Christ died, and allowed Joseph to take the body of Christ for burial.
Joseph, having bought a shroud (a linen for burial), came to Golgotha. Another secret disciple of Jesus Christ and a member of the Sanhedrin, Nicodemus, also came. He brought with him for burial a precious fragrant ointment - a composition of myrrh and aloe.
They removed the body of the Savior from the Cross, anointed Him with incense, wrapped Him in a shroud, and laid Him in a new tomb, in a garden near Golgotha. This coffin was a cave that Joseph of Arimathea carved into the rock for his burial, and in which no one had yet been laid. There they laid the body of Christ, because this tomb was close to Golgotha, and there was little time, since the great feast of Easter was coming. Then they rolled a huge stone to the door of the coffin and left.
Mary Magdalene, Mary Iosiev and other women were there and watched how the body of Christ was laid. Returning home, they bought precious ointment, so that later they could anoint the body of Christ with this ointment, as soon as the first, great day of the feast had passed, on which, according to the law, everyone should be at peace.
But the enemies of Christ did not rest, despite their great feast. The next day, on Saturday, the chief priests and Pharisees (disturbing the peace of the Sabbath and the feast) gathered, came to Pilate and began to ask him: “Sir, we remembered that this deceiver (as they dared to call Jesus Christ), while still alive, He said, “After three days I will rise again.” Therefore command that the tomb be guarded until the third day, lest His disciples come at night and steal Him away and tell the people that He has risen from the dead, and then the last deception will be worse than the first.”
Pilate said to them, "You have guards; go and guard as you know."
Then the high priests with the Pharisees went to the tomb of Jesus Christ and, having carefully examined the cave, applied their (Sanhedrin's) seal to the stone; and set up a military guard at the tomb of the Lord.
When the body of the Savior lay in the tomb, with His soul He descended into hell to the souls of people who died before His suffering and death. And all the souls of righteous people who were waiting for the coming of the Savior, He freed from hell.
NOTE: See in the Gospel: Matthew, ch. 27, 57-66; from Mark, ch. 15, 42-47; from Luke, ch. 23, 50-56; from John, ch. 19, 38-42.