 |
| Entry of Christ into Jerusalem |
Luke 19
[28] And when he had thus spoken, he went before, ascending up to Jerusalem.
[29] And it came to pass, when he was come nigh to Bethphage and Bethany, at the mount called the mount of Olives, he sent two of his disciples,
[30] Saying, Go ye into the village over against you; in the which at your entering ye shall find a colt tied, whereon yet never man sat: loose him, and bring him hither.
[31] And if any man ask you, Why do ye loose him? thus shall ye say unto him, Because the Lord hath need of him.
[32] And they that were sent went their way, and found even as he had said unto them.
[33] And as they were loosing the colt, the owners thereof said unto them, Why loose ye the colt?
[34] And they said, The Lord hath need of him.
[35] And they brought him to Jesus: and they cast their garments upon the colt, and they set Jesus thereon.
[36] And as he went, they spread their clothes in the way.
[37] And when he was come nigh, even now at the descent of the mount of Olives, the whole multitude of the disciples began to rejoice and praise God with a loud voice for all the mighty works that they had seen;
[38] Saying, Blessed be the King that cometh in the name of the Lord: peace in heaven, and glory in the highest.
[39] And some of the Pharisees from among the multitude said unto him, Master, rebuke thy disciples.
[40] And he answered and said unto them, I tell you that, if these should hold their peace, the stones would immediately cry out.
[41] And when he was come near, he beheld the city, and wept over it,
[28] And when he had thus spoken, he went before, ascending up to Jerusalem.
[29] And it came to pass, when he was come nigh to Bethphage and Bethany, at the mount called the mount of Olives, he sent two of his disciples,
[30] Saying, Go ye into the village over against you; in the which at your entering ye shall find a colt tied, whereon yet never man sat: loose him, and bring him hither.
[31] And if any man ask you, Why do ye loose him? thus shall ye say unto him, Because the Lord hath need of him.
[32] And they that were sent went their way, and found even as he had said unto them.
[33] And as they were loosing the colt, the owners thereof said unto them, Why loose ye the colt?
[34] And they said, The Lord hath need of him.
[35] And they brought him to Jesus: and they cast their garments upon the colt, and they set Jesus thereon.
[36] And as he went, they spread their clothes in the way.
[37] And when he was come nigh, even now at the descent of the mount of Olives, the whole multitude of the disciples began to rejoice and praise God with a loud voice for all the mighty works that they had seen;
[38] Saying, Blessed be the King that cometh in the name of the Lord: peace in heaven, and glory in the highest.
[39] And some of the Pharisees from among the multitude said unto him, Master, rebuke thy disciples.
[40] And he answered and said unto them, I tell you that, if these should hold their peace, the stones would immediately cry out.
[41] And when he was come near, he beheld the city, and wept over it,
John 12
[12] On the next day much people that were come to the feast, when they heard that Jesus was coming to Jerusalem,
[13] Took branches of palm trees, and went forth to meet him, and cried, Hosanna: Blessed is the King of Israel that cometh in the name of the Lord.
[14] And Jesus, when he had found a young ass, sat thereon; as it is written,
[15] Fear not, daughter of Sion: behold, thy King cometh, sitting on an ass's colt.
[16] These things understood not his disciples at the first: but when Jesus was glorified, then remembered they that these things were written of him, and that they had done these things unto him.
This image by Blake painted in oil on copper for Thomas Butts is out of the ordinary even for Blake. The subject of Jesus entering Jerusalem on Palm Sunday receives a distinctive treatment. Jesus and his party of disciples enjoy a conventional treatment although they display the elongated bodies and reduced sized heads which Blake adopted for a period of time. The crowd gathered around Jesus are definitely unconventional since they are in various degrees of undress. The contrasting sizes of the various figures leads to a confusion of scale and perspective.
The 'window' through which Jerusalem is visible is framed by trees which are being climbed by figures of individuals attempting to reach a higher level. Jerusalem is not pictured as the earthly city of Jesus's day but as the heavenly Jerusalem of the vision of John of Patmos.
During the period when Blake was reevaluating Classical thought as an influence on his myth and prophecy, he seems to have reconsidered the neoclassical style of art which he had adopted in much of his work. Neoclassicism gained prominence with the enlightenment; Blake looked to replace them both. This picture owes much to Mannerism, a style of the 16th century. According to this National Gallery website Mannerism demonstrated that "excellence in painting demanded refinement, richness of invention, and virtuoso technique, criteria that emphasized the artist’s intellect." Blake found that this technique allowed him to use his intellect and inventiveness to stimulate a fresh view of a Biblical scene which could be opened to vision.
[12] On the next day much people that were come to the feast, when they heard that Jesus was coming to Jerusalem,
[13] Took branches of palm trees, and went forth to meet him, and cried, Hosanna: Blessed is the King of Israel that cometh in the name of the Lord.
[14] And Jesus, when he had found a young ass, sat thereon; as it is written,
[15] Fear not, daughter of Sion: behold, thy King cometh, sitting on an ass's colt.
[16] These things understood not his disciples at the first: but when Jesus was glorified, then remembered they that these things were written of him, and that they had done these things unto him.
This image by Blake painted in oil on copper for Thomas Butts is out of the ordinary even for Blake. The subject of Jesus entering Jerusalem on Palm Sunday receives a distinctive treatment. Jesus and his party of disciples enjoy a conventional treatment although they display the elongated bodies and reduced sized heads which Blake adopted for a period of time. The crowd gathered around Jesus are definitely unconventional since they are in various degrees of undress. The contrasting sizes of the various figures leads to a confusion of scale and perspective.
The 'window' through which Jerusalem is visible is framed by trees which are being climbed by figures of individuals attempting to reach a higher level. Jerusalem is not pictured as the earthly city of Jesus's day but as the heavenly Jerusalem of the vision of John of Patmos.
During the period when Blake was reevaluating Classical thought as an influence on his myth and prophecy, he seems to have reconsidered the neoclassical style of art which he had adopted in much of his work. Neoclassicism gained prominence with the enlightenment; Blake looked to replace them both. This picture owes much to Mannerism, a style of the 16th century. According to this National Gallery website Mannerism demonstrated that "excellence in painting demanded refinement, richness of invention, and virtuoso technique, criteria that emphasized the artist’s intellect." Blake found that this technique allowed him to use his intellect and inventiveness to stimulate a fresh view of a Biblical scene which could be opened to vision.
Four Zoas, Night IX, Page 122, (E 391)
"The times revolve the time is coming when all these delights
Shall be renewd & all these Elements that now consume
Shall reflourish. Then bright Ahania shall awake from death
A glorious Vision to thine Eyes a Self renewing Vision
The spring. the summer to be thine then Sleep the wintry days
In silken garments spun by her own hands against her funeral
The winter thou shalt plow & lay thy stores into thy barns
Expecting to recieve Ahania in the spring with joy
Immortal thou. Regenerate She & all the lovely Sex
From her shall learn obedience & prepare for a wintry grave
That spring may see them rise in tenfold joy & sweet delight
Thus shall the male & female live the life of Eternity
Because the Lamb of God Creates himself a bride & wife
That we his Children evermore may live in Jerusalem
Which now descendeth out of heaven a City yet a Woman
Mother of myriads redeemd & born in her spiritual palaces
By a New Spiritual birth Regenerated from Death"
No comments:
Post a Comment