We are searching data for your request:
Upon completion, a link will appear to access the found materials.
The painting by Jerome Bosch, written at the end of the 15th century, opens up a mise-en-scene for the spectator to meet Jesus Christ and Pontius Pilate in the face of a raging crowd. Jesus is depicted as exhausted and crippled by the whip of the whip, and also with a crown of thorns worn on his head.
The crowd demanding execution for the “false prophet”, in Bosch’s view, was to represent one big many-headed, evil and ugly monster with stupid faces and meaningless looks, looking, moreover, like an idle carnival elite. That is why the artist dressed up standing people in bizarre and atypical clothes of that time, among which there are ribbons, turbans and richly decorated cloaks.
These people are a manifestation and weapon of evil in the face of changes that move the world forward and push it onto the path of truth.
In the background, in the background, you can see the features of the Flemish town of those years, filled with towers, houses of citizens and commercial buildings. The central element of this perspective is the Town Hall, made in the style of the Northern Renaissance
The main message that carries the image of the city is a symbolic neighborhood of injustice and bloodshed on the one hand and a quiet lay idyll on the other. The city is asleep, awake and prosperous, while practically at its gates they put to death not only anyone, but the son of God himself.
It is interesting that on one of the balconies of the apartment building of the above city, a red flag with a crescent moon is displayed - a symbol of the infidels who betrayed Jesus Christ and who, in turn, are identified with the Islamic world - the then possessor and invader of the main Christian shrines. The figure of an owl above the head of Pontius Pilate, as well as a toad on the shield of one of the guards, are clear messengers of the impending grief and the personification of the hopelessness of this world.
Another interesting point is connected with the lower left corner of the picture: looking closely, you can see several obscure and barely visible, as if specially erased silhouettes of some people.
Nothing is known for certain on this score, however, there are suggestions that these silhouettes belonged to donors (customers of any works of art or architecture in the Catholic tradition), who, for some reason, were later extinct from the canvas. Among the figures, you can make out the kneeling father, several children, and, apparently, a Dominican monk who appeals to the Lord to save his soul and the souls of the rest of the innocent.
Ivan Tsarevich on the Gray Wolf Description of the painting