MARY LOOKS WITH PRAYERFUL ADORATION AT GOD RECOGNIZED IN THE CHILD --- THE GREAT SPIRITUAL TURNING POINT OF THE EUROPEAN HISTORY OF PAINTING

 

MARY LOOKS WITH PRAYERFUL ADORATION AT GOD

 RECOGNIZED IN THE CHILD

THE GREAT SPIRITUAL TURNING POINT OF THE EUROPEAN HISTORY OF PAINTING

 

Dr. Lajos Békefy

Ars oculi – the art of the eyes

In my previous writings, I have already mentioned ars donandi, the Christian art and culture of gift-giving. On other occasions, I have discussed the art of the ears, the art of hearing, the sacred worship of music before God for the gift of the Child. Now I would like briefly present the worship of the art of the eyes, in Europian history of painting. So that we not only look, but also see spiritually. I have sought moments in the vision and representation of Italian "Catholic" and Dutch-German "Reformed/Protestant" painters that elevate brush culture and painting to a true worship of God.  In the process, I found a shift in perspective, a leap in quality that can sanctify our Christmas preparations and celebrations today. The goal of our current walk through the art history is to use the exalted, adoring, spiritually inspired brushstrokes of artists of yesteryear to make our own festive feelings even more complete: let us also recognize personally and do what Mary did. For she recognized the great moment of her life. In her inspiration, her "conversion," she saw in the Child the only begotten Son of Almighty God. Therefore, the mother Mary becomes a woman of faith who adores Christ, God, and who will be able to face even the deepest pain of the devastating God-man drama under the cross. Let us now set out with open eyes and hearts attuned to prayer to the holy Child!

 

The gold of Byzantine representation

We begin our sacred pilgrimage, which dates back to the early centuries, at the beginning of the Middle Ages. Byzantine and Eastern Christian paintings already approached the sacred story, including the Nativity, according to strict rules at the dawn of the Middle Ages. If we look more closely at the scene of Christ's birth, as recorded in the sacred calendar, the menologion, we see that the painting looks at us from within an invisible triangle. II. Basileus' Menologion thus places the Christmas event in a Trinitarian, Holy Trinity framework. Above, in the center of the image, we can glimpse the Father, who delights in His beloved Son (Matthew 17:5). According to the Word (Luke 2), we see the little child swaddled in a stone cradle, upon whom the light of the watchful fatherly gaze shines, the light of holiness and protective love pouring down upon him. The apex of the triangle points to the fatherly gaze, and its two invisible sides, suggested by the structure of the picture, can be drawn from the choir of angels to the right and left corners of the miniature. Mary is completely focused on her child, while Joseph, to her left, looks at us with a slightly worried gaze, as if to say: Do you know who this child is? What will become of him in this sinful world?  His gaze is one of protective care and contemplation. In the center of the picture, below, the midwife can be seen bathing the Only Begotten Son. On the right stands a "ragged" poor shepherd who was camping there on that mysterious night beside his flock (Luke 2:8), and then, at the warning of the angel of the Lord, set out to see the glory surrounding the Child. The angel's pointing finger indicates: this far and no further! The sacrament has a personal aura, and no one may cross it. Lest they disturb the Infant's sleep, his peaceful rest. With its simple, clear structure, the menologion directs our gaze to the climax of the nativity story. The Byzantine painting has another distinctive feature: the background of the picture is bathed in golden light, as if to indicate that the most precious event in world history took place there and then. The story of salvation, more precious than gold, began to make humanity happy, and it continues to this day.

 

New colors, sacred approach in the Romanesque and Gothic periods

Painting techniques and themes changed. In Giotto's (Giotto di Bondone +1337) painting The Adoration of the Magi (1304-1306), blue is the dominant color alongside gold. Kings and nobles dressed in Italian clothing, representing the elite of contemporary society, present their gifts to the Child. Young and old, people of all ages worship the Child, who is seen here in the protective hands of Mary and Joseph. Even as a holy family, they receive the gift-bearers together on a simple throne. They also feel themselves to be gifted, for according to the Word, because we have "seen with our eyes, looked upon and touched with our hands the Word of life" (1 John 1:1). The blue sky stands out in the painting, referring to the heavenly world and indicating that the painting was commissioned by the Scrovegni family to adorn their private chapel. Giotto used powdered lapis lazuli, ultramarine, to create the blue. This precious material was brought to Italy from across the sea. The ultramarine and gold in the painting represent the exalted, enriching divinity and humanity of the Child.

The shift in representation by Holland and German painters 

 With a qualitative leap in painting history, they moved away from ancient and early medieval representation. In addition to divine sacredness, they also depicted human features, in a beautiful aesthetic unity of humanity and sacredness. In Konrad von Soest's (+ 1422) altarpiece The Birth of Christ (1404), located in Niederwildungen/Germany, Mary cradles the Infant Jesus in a beautifully made bed, while Joseph lovingly tends the fire and prepares food at the side of the bed. This is an everyday scene, a visual emphasis on and awareness of the sanctity of everyday life. This is a German-Dutch peculiarity.

Stephan Lochner (+ 1451) gives a special form to the Adoration of the Child (1445). In the painting, which can be seen in Munich, Mary turns with her hands in prayer, her full attention on the Child. Here, the Mother stands before the Child and the viewer, who realizes the extraordinary nature of her Child, recognizing in Him the Son of God, the Only One, who is not only hers, but God's. This scene foreshadows the later biblical one, when she and Joseph searched for their son in Jerusalem for days. Then a mysterious recognition dawned on Mary: this was indeed a great calling. According to the biblical scene, Mary gently reproaches him: "My child, why have you done this to us? Your father and I have been searching for you in great distress" (Luke 2:48ff). The answer is unambiguous: "Did you not know that I must be in my Father's house?" This painting points to the great awakening that took place in Mary's heart. The Child is not hers, not her property; He is the beloved Son of the Most High God, in whom He delights. Therefore, it is fitting that she and all people approach Him with reverence.

 

The radiance of children that gives meaning to life, the warmth of home

Many Renaissance artists expressed this new insight in a way that was also perceptible to the eye. In Fra Filippo Lippi's Adoration of the Child with Saints (1459), Mary is depicted on a delicate prayer rug. The painting emphasizes the human side of prayer, worship, and religious life, as well as constancy and continuity. Mary turns toward the Child with a prayerful gaze and gesture, with her whole personality.

Hans Baldung Grien (+1545), a painter of the Dürer school with a unique vision, worked at the spiritual frontier between the Renaissance and the early Baroque. In 1520, at the dawn of the Reformation, he composed his painting The Birth of Christ.  He visualizes the events of this holy night by placing Mary and Joseph next to a dark column, their faces literally bathed in the light emanating from the Infant. Little angels hold him with great care on a snow-white swaddling cloth. The base of the column next to him also reflects the light, purity, and holiness emanating from the Child like a bright mirror, which is abundantly shared with people, animals, the material world, and reality. All of creation, human existence, and creative work shine in the light of Jesus. Members of the great generation of non-Italian painters also use similar techniques to illuminate the adoration of their souls and brushes.

 

In 1607, Peter Paul Rubens (+ 1640) created The Adoration of the Shepherds, which, in contrast to Grien's approach, draws the viewer's heart into warm brown and bright brown colors, just as it once did for the shepherds. The dazzling white glow of Grien, which gives meaning to everything, is transformed here into the warm light that radiates from the Child, filling us with the warmth and love of Jesus, who makes us feel at home. 

The greatest Dutch painter, Rembrandt (+1669), like Rubens, proclaims this warmth in his 1646 work The Adoration of the Shepherds. We conclude our Advent-Christmas pilgrimage in the light with Gerrit van Honthorst's magnificent painting. In his 1622 work Adoration of the Shepherds, the Light of the World shines as an eternal source of light in Mary's tender gaze, even in its smallness. A gentle smile and serenity dominate the picture. The shepherd praying in the foreground has already taken off his hat, while the other, behind him, is just now lifting his head in a sign of respect. With wide eyes and hearts full of wonder and admiration, they absorb the light of life, the reflection of eternal life. With his whole being, his earthly existence, and his work, the Child shines light on the universe and on our hearts. We can only respond to this with gratitude.

May it be so on our Christmas, in every moment of Christmas: may we absorb with our eyes, our souls, our prayers, and our concentrated attention the life-giving light, the dawn of eternal life, from the Child, the King of Kings, from the Gospel, from the messages of joy.