Rembrandt Harmenszoon Van Rijn – The Descent from the Cross
1632-33. 89х65. Alte Pinakothek, Munich
На эту операцию может потребоваться несколько секунд.
Информация появится в новом окне,
если открытие новых окон не запрещено в настройках вашего браузера.
Для работы с коллекциями – пожалуйста, войдите в аккаунт (open in new window).
Поделиться ссылкой в соцсетях:
COMMENTS: 2 Ответы
БОГОСЛОВИЕ И ВЕРА
1
Богословие – нечто сложное,
Чтобы вера в оном жила –
Вера ясная, непреложная,
Вместе звук – будто колокола.
Богословия тема играет
Виртуозностью многих словес,
Построенья свои поднимает,
Как ей чудится – до небес.
А на деле в землю врывает.
2
Единосущен сын отцу иль нет?
Немало копий поломали.
Ответа так и не узнали –
Его и нет. Есть ясный свет.
Зачем нам богословья строй,
Закрученные мощно фразы?
Читал тома – и я пустой,
А есть огонь – увидишь сразу.
И чем оно лучше и оригинальнее эрмитажной? Второе ничуть ему не уступает.
You cannot comment Why?
At the apex of the cross, obscured by shadow and bulk, a figure appears to be loosening the nails. Below, several men are actively engaged in supporting and lowering the limp body of Christ, which is draped in a white shroud. Their faces, though small in the overall composition, convey a sense of strain and sorrow. One man, with a blue tunic, ascends the cross to aid in the descent, while another directly supports Christs body. The central figure of Christ, pale and lifeless, is the focal point, his body angled downward as he is carefully lowered.
To the left, a group of onlookers stands in shadow, their forms indistinct but their presence adding to the somber atmosphere. Among them, a figure with a white beard seems to be observing the scene with deep emotion, possibly representing a disciple or a grieving follower.
On the right, a man dressed in rich, dark robes and a turban stands apart from the main group. He is viewed in profile, his gaze fixed on the scene before him. The presence of richly dressed figures can suggest a departure from the biblical narrative, perhaps introducing elements of the patrons or figures of influence of Rembrandts time, thereby bringing the biblical event into a contemporary context.
The subtexts of the painting are rich with religious and emotional meaning. The central theme is the sacrifice of Jesus Christ, emphasizing his death and the reverence and sorrow of those who witnessed and participated in his burial. The dramatic lighting, characteristic of Rembrandts style, highlights the emotional intensity of the moment, focusing on the physical and spiritual weight of the event. The contrast between the illuminated figures and the dark background creates a sense of profound drama and spiritual significance. The presence of figures in more contemporary or exotic attire on the right, as well as the intensely human portrayal of grief and effort, invites the viewer to connect with this pivotal moment in Christian history on a deeply personal and emotional level, transcending the specific time of the biblical event.