Nativity of Christ in Russian painting. The birth of jesus christ Color drawings of the birth of jesus christ

When they were there, the time came for her to give birth; And she gave birth to her Firstborn Son, and wrapped Him in swaddling clothes, and laid Him in a manger, because there was no room for them in the inn. (Luke 2: 6-7). Until the beginning of the 5th century, Christmas was celebrated at the same time as the feast of the Epiphany. Therefore, in the painting, the plots of the birth itself and subsequent episodes were mixed, which, strictly speaking, are more related to the Manifestation of God - the worship of the Magi (kings), the worship of the shepherds, which do not always include the image of the birth of Christ itself.

Joseph's dream.
Alexander Andreevich Ivanov. 1850s
Watercolor, Italian pencil on paper.
Moscow. State Tretyakov Gallery

Nativity.
Gagarin Grigory Grigorievich

Adoration of the Magi.
Gagarin Grigory Grigorievich

Nativity of Christ (Adoration of the Shepherds).
Shebuev Vasily Kozmich. 1847 Oil on canvas. 233x139.5 cm.
Image for the Annunciation Church of the Horse Guards Regiment in St. Petersburg

Nativity.
Repin Ilya Efimovich. 1890 Oil on canvas. 73x53.3.

The appearance of an angel, preaching the good news to the shepherds about the birth of Christ. Sketch.
Ivanov Alexander Andreevich. 1850s.
Brown paper, watercolor, whitewash, Italian pencil. 26.4x39.7
State Tretyakov Gallery, Moscow

Glorification of the shepherds.
Ivanov Alexander Andreevich. 1850 g.

The appearance of an angel to the shepherds.
Petrovsky Petr Stepanovich (1814-1842). 1839 Oil on canvas. 213x161.
Cherepovets Museum Association

For this picture, a young artist - a student of Karl Bryullov - in 1839 received the first large gold medal of the Academy of Arts. The canvas was kept in the Museum of the Imperial Academy of Arts until it was closed, then it was transferred to the Cherepovets Museum of Local Lore.

Nativity.
Vasnetsov Viktor Mikhailovich. 1885-1896
Murals of the Vladimir Cathedral in Kiev

Nativity.
Vishnyakov Ivan Yakovlevich et al. 1755
From the Trinity-Petrovsky Cathedral.
State Russian Museum, St. Petersburg

Christmas.
Borovikovsky Vladimir Lukich. 1790 Oil on canvas.
Tver Regional Picture Gallery

Nativity.
Borovikovsky Vladimir Lukich. Canvas, oil
Historical, Architectural and Art Museum "New Jerusalem"

Nativity.
M.V. Nesterov. 1890-1891 Gouache, gold on paper mounted on cardboard. 41 x 31.
Sketch for painting the altar wall of the southern side-altar in the choir of the Vladimir Cathedral
State Tretyakov Gallery
http://www.art-catalog.ru/picture.php?id_picture=15006

Nativity.
Sketch for painting the altar wall of the southern side-altar in the choir of the Vladimir Cathedral.
Nesterov Mikhail Vasilievich. 1890-1891 Gouache, gold on paper mounted on cardboard. 41x31.8
State Tretyakov Gallery
http://www.art-catalog.ru/picture.php?id_picture=14959

Nativity.
M.V. Nesterov. 1890 g.

The kneeling figure of a youth with a staff in his hand. Hand holding a staff. A hand raised to the lips.
M.V. Nesterov. Etude. 1890-1891 Lead pencil, Italian pencil, charcoal on paper mounted on cardboard. 49x41.
Preparatory sketches for the figure of one of the shepherds of the composition "Nativity of Christ" (the altar of the southern one is attached to the choir of the Vladimir Cathedral in Kiev)
Kiev State Museum of Russian Art
http://www.art-catalog.ru/picture.php?id_picture=4661

Christmas (Bow of the Kings).
M.V. Nesterov. 1903 g.
Fragment of painting on the northern wall of the church in the name of the Blessed Prince Alexander Nevsky
http://www.art-catalog.ru/picture.php?id_picture=15189

Christmas (Bow of the Kings).
M.V. Nesterov. 1899-1900 Lead pencil, gouache, watercolor, bronze, aluminum on paper mounted on cardboard. 31x49.
Sketch for the painting of the northern wall of the church in the name of the Blessed Prince Alexander Nevsky.
State Russian Museum
http://www.art-catalog.ru/picture.php?id_picture=15177

Magi. Sketch
Ryabushkin Andrey Petrovich. Watercolor on paper
Kostroma State United Art Museum

Nativity of our Lord Jesus Christ.
Lebedev, Klavdiy Vasilievich (1852-1816)

Angelic praise at the moment of the birth of the Savior.
Lebedev, Klavdiy Vasilievich (1852-1816)

Nativity.
Lebedev, Klavdiy Vasilievich (1852-1816). Graphics.

Adoration of the Magi.
Klavdiy Vasilievich Lebedev,
Church and Archaeological Office of the MDA

Adoration of the Magi.
Valerian Otmar. 1897 Oil on canvas, 71x66.
Original mosaic for the Church of the Savior on Spilled Blood

The appearance of an angel to the shepherds. Nativity. Presentation.

Nativity.
Mosaic based on the original by I.F.Porfirov
Church of the Resurrection of Christ (Savior on Blood), St. Petersburg

Nativity of Christ and other sacred scenes from the life of Jesus Christ and the Mother of God.
I. Ya.Bilibin.
Sketch of a fresco for the southern wall of the Church of the Assumption of the Virgin in Olshany

Magi (wise men).
Pavel Nikolaevich Filonov. 1914 Watercolor, brown ink, ink, pen, brush on paper. 37x39.2 cm.
State Russian Museum, St. Petersburg
Olga "s Gallery

Adoration of the Magi.
Pavel Nikolaevich Filonov. 1913 Wood, pencil, gouache. 45.7x34.9.
Private collection
Initially, the work was in the possession of the artist's sister Evdokia Glebova.
On October 17, 1990, was sold to an anonymous source at Sotheby's,
then on November 29, 2006, it was sold again at Christie’s auction for $ 1.5 million.
Christie's auction house

Adoration of the Magi.
Pavel Nikolaevich Filonov. 1913 Paper, gouache (tempera?), 35.5x45.5.
Private collection, Switzerland
Published by the Tretyakov Gallery, 2006
http://www.tg-m.ru/articles/06/04/042–049.pdf

Sites-sources of reproductions:

The Nativity of Jesus Christ was like this: after the betrothal of His Mother Mary to Joseph, before they were combined, it turned out that She had in her womb from the Holy Spirit. And Joseph her husband, being righteous and unwilling
to announce Her, I wanted to secretly let Her go. But when he thought this, - behold, the Angel of the Lord appeared to him in a dream and said: Joseph, son of David! do not be afraid to accept Mary, your wife, for what is born in her is of the Holy Spirit. She will give birth to a Son, and you will call His name Jesus, for He will save His people from their sins. And all this happened, so that what was said might come true
Lord through the prophet, who says: behold, the Virgin in her womb will receive and give birth to a Son, and they will call His name Immanuel, which means: God with us. Rising from sleep, Joseph did as the Angel of the Lord commanded him, and took his wife, and did not know Her. [How] at last She gave birth to Her firstborn Son, and he called His name: Jesus. (Matthew 1: 18-25)

In those days, a decree went out from Caesar Augustus that all the earth should be enumerated. This census was the first during the reign of Quirinius in Syria.
And everyone went to enroll, each to his own city.

Joseph also went from Galilee, from the city of Nazareth, to Judea, to the city of David, called Bethlehem, because he was from the house and family of David, to sign up with Mary, his betrothed wife, who was pregnant. When they were there, the time came for her to give birth; And she gave birth to her Firstborn Son, and wrapped Him in swaddling clothes, and laid Him in a manger, because there was no room for them in the inn.
(Luke 2: 1-7)

Nativity. V.P. Vereshchagin. 1875-1880 Cathedral of Christ the Savior Nativity. G. Gagarin Dream of Joseph (Do not be afraid to accept Mary, your wife). A. A. Ivanov. 1850 g
Nativity of our Lord Jesus Christ. K. Lebedev

Andrey Rublev.
"Nativity".
1405 year.
Cathedral of the Annunciation in the Moscow Kremlin.

Since ancient times, the celebration of Christmas in Russia began on the night of December 25. On the eve of the holiday, when the early winter sunset burned out in the frosty air and the pink light on the snow became colder and colder and somehow completely imperceptibly turned blue, people left their houses, leaving the pre-holiday preparations, and looked at the darkening sky, waiting for the first, Christmas star ... On this day, until the star was not supposed to eat anything, and in the evening the food was not very satisfying, but special and long-awaited - bread grains steamed in water with dried berries. It was called “syrup”, and the whole day of the prefeast was called Christmas Eve.

The night of Christmas was approaching, time was receding, and in the holiday of overcoming it through the snow-covered Russia - every person, old and young, was preparing to become a participant in the meeting of a newborn baby on earth. That evening, the first Christmas carols - carols - were conceived along the village and city streets. Their singing in ancient times was widespread throughout Russia. The first recordings of North Russian carols have survived from the 17th century, but the chants themselves date back to ancient times. The carols sing of the past as if it were happening today, on this night, and the singers themselves are witnesses and participants in the events. Russian children under the moonlight of Christmas Eve, creaking with frosty snow on the windowsills, talked in carols with shepherds going to bow to the newborn Savior of the world.

Christmas was depicted by artists who lived at least 1,100 years before Rublev. According to the historian Eusebius of Caesarea (III-IV centuries), no later than 330-ies, by order of Emperor Constantine, the Church of the Nativity was built in Bethlehem, where, undoubtedly, there was an icon of this holiday. The oldest images of the Nativity have survived to this day on silver ampoules, into which oil consecrated in Palestine was poured. They belong to the 5th-7th centuries. For more than a millennium, this iconography took shape, developed, before it took on the form in which Rublev's predecessors wrote and he himself followed them.

Valery Sergeev. "Rublev". ZhZL series No. 618.

"Nativity".
1745.
Hermitage, St. Petersburg.

As for the dating of the advent, it is not so simple here either. If a supernova explosion, the "Star of Bethlem", was not inserted into the Bible later, because it lit up and became visible in the year 1054 from the birth of Christ, then the masters of the world have written down an extra millennium in our heads. The Church of Trent in Constantinople (Constantinople) definitely added an extra millennium ...

Vladimir Pyatibrat. "Deep Book".

Gandolfino da Roreto (Gandolfino d "Asti).
The Nativity of Christ.
Late 15th - early 16th centuries
Hermitage, St. Petersburg.

When it was time to give birth — it was around midnight on Christmas Day — Mary got up and leaned against the pillar that was there. Joseph sat next to him, saddened, probably because he could not prepare everything needed for the birth. He got up, took hay from the manger, laid it at the feet of the Virgin Mary, and turned away. At that moment, the Son of God left the womb of the Mother without causing her any pain. So He ended up in the hay at the feet of His Mother. After washing Him, She wrapped Him in Her veil and laid Him in a manger.<…>the ox and the donkey bowed their heads over the manger in order to warm the Baby with their breath, as they understood that in such a cold a barely sheltered Baby needs warmth. The mother, however, kneeling down, prayed and offered thanks to God: I thank You, Lord and Heavenly Father, for giving Me Your Son, and I pray to You, the Eternal God, and You, the Son of the Living God and My Holy One.

Pseudo-Bonaventure. "Reflections on the Life of Christ." Around 1300.

"Nativity".

Icon "Nativity of Christ".
Mediterranean.
Second half of the 15th century.
Hermitage, St. Petersburg.

Icon "Nativity of Christ".
Russia.
XVI century.
Hermitage, St. Petersburg.

Icon "Nativity of Christ".
Russia.
End of the 17th century.
Hermitage, St. Petersburg.

Icon "Nativity of Christ" in a carved frame.
Palestine.
Between 1801-1860.
Hermitage, St. Petersburg.

Ilya Efimovich Repin.
"Nativity".
1890.
State Tretyakov Gallery, Moscow.

Birth of Jesus

In those days, a command went out from the Roman Caesar Augustus to make a census of all the earth.

And everyone went to enroll - each to his own city. Since Joseph was from the city of Bethlehem, he went there with Mary.

It was time for Mary to give birth in Bethlehem. She swaddled the baby and put it in the cattle feeder, in the manger, because there was no room for him and Joseph in the hotel.

Meanwhile, an angel appeared to the shepherds, who were guarding the cattle at night, and said:

I proclaim great joy to you: in Bethlehem, the Savior was born - Christ the Lord. You will find a baby in a manger.

The shepherds came running and found Mary, Joseph and the baby lying in a manger. Then the shepherds told everyone about the knowledge and about the baby.

Eight days later, the baby was named Jesus.

Then they carried it to Jerusalem to present the baby to God and sacrifice two turtledoves or two chicks of pigeons, as stated in the laws of Moses.

There was then a man in Jerusalem named Simeon. It was foretold to him that he would not die until he saw the Savior. Simeon came to the temple at the time when the parents brought Jesus there, took him in their arms and said:

Now you let your servant go, Master, according to your word in peace, for I saw the Savior.

Joseph and Mary were very surprised at such words.

There was also Anna the prophetess, eighty-four years old. She did not leave the temple at all - she prayed to God day and night. She went up to the baby and glorified the Lord, and began to talk about him to everyone in Jerusalem.

Biblical legends. Derbent, Interekspress. 1992 year.

"Nativity".
1503.
Uffizi Gallery, Florence.

Mathis Gotthart Grunewald.
"Nativity".
Insenheim Altarpiece.

THE STAR OF BIFLEEM REALLY FLASHED IN THE MIDDLE OF THE XII CENTURY. (ABSOLUTE ASTRONOMIC DATING OF THE LIFE OF CHRIST)

We will use the fundamental work of I.S.Shklovsky "Supernovae and related problems". In it, the third chapter is almost entirely devoted to the "star of 1054". The remnants of this outbreak is the modern Crab Nebula in the constellation Taurus.

Let's say right away that the date "1054" is taken from old chronicles, in particular Chinese and Japanese. Which I.S.Shklovsky fully trusts. But we have no reason to do so. Moreover, it is not at all necessary to involve such dubious information. It turns out that this supernova explosion can be DATED PURE ASTRONOMICALLY, and with high accuracy. This is exactly what was done by American astronomers in the XX century.

The reliable astronomical dating of the Star of Bethlehem is as follows: 1140 plus or minus 20-30 years. That is, the MIDDLE OF THE TWELFTH CENTURY.

ADDITION ABOUT GALLEY'S COMET. Today it is known that the return period of Halley's comet is approximately 76 years ... Since the penultimate time Halley's comet appeared in 1910, it is easy to calculate that around 1910 - 760 = 1150 Halley's comet should have also appeared. Good or bad she was visible that year - we do not know. But if it really appeared in the sky as effectively as in the 17th-20th centuries (for example, as in 1910), then for several years two bright phenomena could be observed in the sky - a star flash around 1150 and Halley's comet around 1150 ... Which, of course, should have further strengthened the impression of people. Subsequently, the two phenomena could be confused, combined. The Gospels say that the star of Bethlehem MOVED, leading the Magi. Which reminds the behavior of the comet: "And behold, the star that they saw in the east WALKED BEFORE THEM, HOW FINALLY COME AND STOPPED over the place where the Child was" (Matthew 2: 9). In fig. 1.7 shows one of the old images of the Gospel Star of Bethlehem in the form of a "tailed star". This is how comets were previously depicted.

We see an even more frank image of the Star of Bethlehem in the form of a comet in Giotto's painting "The Adoration of the Magi" ...

Giotto di Bondone.
"Adoration of the Magi".

The tail of the star is stretched to the left upwards - it means that the artist most likely painted a comet and not, say, a star with a ray pointing to the baby Christ.

Albrecht Altdorfer.
"Holy Night (Nativity of Christ)".

It is curious that in the medieval painting "Christmas" by Albrecht Altdorfer, at the top left, there are TWO HEAVENLY LIGHTS, marking Christmas. One of them is the huge star of Bethlehem in the form of a ball flash. And a little lower - a more elongated and swirling luminary, inside which a small angel is depicted.

We see a similar image of exactly two heavenly "flashes" announcing the birth of Christ on the famous medieval Paumgartner altar, created by Albrecht Durer allegedly in the 16th century.

Albrecht Durer.
Altar of Paumgartners.
1503.

We see a globular flash of the Bethlehem star, and just below (as, by the way, in Altdorfer's painting) - an elongated swirling luminary with an angel inside. In both of the above pictures, a pair of celestial bodies is depicted in a bright yellow, golden color, immediately striking the eye against the darker background of the rest of the landscape.

Thus, such medieval images convey to us, apparently, an old tradition to associate with Christmas both the flash of a star and the comet that appeared at that time.

Vasily Shebuev.
"Nativity".

Let us turn to the "Lutheran Chronograph" of the 17th century, which describes the history of the world from the creation of the world to 1680. It says, in particular, about the celebration of the medieval Christian "Jubilees", which were celebrated in the Vatican in the years 1299-1550. Jubilees were established in memory of Christ, since they were celebrated on the days of the January calendars. Christmas was celebrated, close to the January calendars, and not another Christian holiday ...

The years of the Jubilees were appointed by the popes. As the "Lutheran Chronograph" informs, in 1390 the "Jubilee after Christ's Vece" was appointed by Pope Urban IV as the THIRTY ANNIVERSARY of the Nativity of Christ. Then he became ten years old, and since 1450, at the behest of Pope Nicholas VI, - FIVE YEARS OLD.

Let's make a simple, but very interesting calculation. Note that if the Jubilee from the Nativity of Christ in 1390 was celebrated as THIRTY YEARS (that is, a multiple of 30 years), and in 1450 - as FIFTEEN YEARS (multiple of 50 years), then by simple calculations we come to a complete list of possible - from the point of view medieval popes - years of the Nativity of Christ. Namely: 1300, 1150, 1000, 850, 700, 550, 400, 250, 100 A.D. and so on, with a step of 150 years into the past (150 is the least common multiple of the numbers 30 and 50). Strikingly, the resulting list of dates does not include the year AD where historians place the Nativity of Christ today. It turns out that the popes who arranged the Jubilee did not at all think that Christ was born at the beginning of our era, as the later chronologists of the 16th-17th centuries stated. The date of the Nativity of Christ was for the popes of the XIV century, obviously, something completely different.

Among the indicated dates, located quite rarely, we see a date that falls exactly in the middle of the XII century. This is 1150. WHAT AGAIN PERFECTLY AGREES WITH THE ASTRONOMIC DATING OF THE VIFLEEMSK STAR 1140-M YEAR PLUS-MINUS 10 YEARS.

G.V. Nosovsky, A.T. Fomenko. "Tsar of the Slavs".

Giovanni Battista Ortolano.
"Christmas".

Giulio Pippi, nicknamed Giulio Romano.
Christmas and the Adoration of the Shepherds.
1531-1534.

Domenico Beccafumi.
"Christmas".

Lorenzo Lotto.
"Nativity".

Master from Moulins.
The Nativity of Christ and Cardinal Rolen.

Master of the Louvre Christmas.
"Christmas".

Piero della Francesca.
"Nativity".

Rogier van der Weyden.
Altar of Bladlen (Middelburg Altar).
"Nativity".

"The Nativity of Christ (Adoration of the Shepherds)".
First half of the 17th century.
1650?
Hermitage, St. Petersburg.

Federico Barocci.
"Nativity".

Hans Baldung.
"Nativity".

El Greco.
"Nativity".

Elizaveta Merkuryevna Boehm (Endaurova).
"For the Feast of the Nativity of Christ!"

), and thus the feast of Christmas, celebrated together with Epiphany, was celebrated in the East on January 6. The exact division of these holidays in the entire Christian Church - Western and Eastern - occurred at the end of I U - beginning of V century. As historians of the Church (M.E. Posnov, in particular) note, the feast of the Nativity of Christ was borrowed by the Eastern Church from Rome, while the feast of the Epiphany first appeared in the East, and then was already transferred to Rome. Here it is necessary to point out that the Western and Eastern Churches over time began to put different meanings into the concept of the Epiphany, which was reflected in the choice of events of the Gospel history celebrated on this holiday. Thus, the Eastern Church has established itself in the celebration of the Epiphany as the Baptism of Christ - the first appearance of Jesus among the people and the establishment of the Trinity dogma - the idea of the appearance of the persons of the Divine. In turn, the Roman Catholic Church under the Epiphany, which is also celebrated on January 6, means the appearance of the star to the Eastern Magi as the first revelation to the pagans of the appearance of the Messiah (the feast of the Three Magi, Three Kings). Baptism, however, in the event that Sunday, when it is always celebrated, does not coincide with January 6, is celebrated by the Roman Catholic Church on the first Sunday after that date.

The circumstances outlined above are extremely important for a correct understanding of the Christmas cycle of plots, as it was formed in Western art. The Gospel story of the birth of Christ is, in fact, only the above words of Luke. Often, however, in Western art, the name "Nativity of Christ" also refers to scenes Adoration of the shepherds and Adoration of the Magi (in this case, we are not talking about interpretations of the plot of the birth of Christ that are not based at all on the gospel narrative, for example, the worship of Mary, the worship of kings and others - about these interpretations and their literary programs, see below), while the episode Adoration of the Magi, strictly speaking, is the scene of the Epiphany. Moreover, if the pictures on the plot Birth of Christ, as a rule, include subsequent episodes, which, in essence, form a circle of episodes of the feast of the Epiphany, then the scenes of this last feast - Adoration of the Magi, The worship of kings- by no means always include the image of the actual birth of Christ.

So, we deliberately separate the plot of the birth of Christ itself, as direct illustration of the story of Luke, from the following plots of Adoration of the Shepherds and Adoration of the Magi (Kings), as mediated proof of the birth of Christ. Note that the combination of these subjects in painting reflected the initial confusion by the Church itself of the circumstances of the birth of Christ and his appearance, that is, the holidays of Christmas and Epiphany.

The first source from which Christian artists borrowed the basic idea of the birth of Christ was to be the gospel. Matthew only states the fact of birth: “Finally, She gave birth to Her firstborn Son, and he [Joseph. - A. M.] He called His name Jesus "(Matthew 1:25). It happened in Bethlehem. Luke's story is somewhat more detailed: he mentions the lack of space in the hotel, that Mary wrapped the Baby in swaddling clothes, that He was put in a manger. It is clear from Luke's further account that Joseph was present at birth (Luke 2:16). But if we compare the depictions of the birth of Christ in painting with these testimonies of the Gospel, it becomes clear that they include details that are not in the Gospel. Thus, the iconography of the Birth of Christ, while preserving what the Gospel gives, goes further in the development of external details. This includes the place where the birth of Christ took place, the manger in which the Savior was placed, the ox and the donkey at the manger, the star over the image of the scene of the birth of the Child, the position of the Mother of God, the actions of Joseph, angels and shepherds, the washing of the Child, midwives and their behavior, features architectural decoration of the stage. For all these plot details, there is a theological base and literary programs.

The first images of the birth of Christ belong to the era of ancient Christian sarcophagi, but date no earlier than IV century. The scene, as a rule, is very simple: in a manger under a canopy lies a swaddled Infant, an ox and a donkey are bent over him, Mary and Joseph are present, sometimes shepherds are depicted. Often, when a star appears, as on one of the Roman sarcophagi found onVia appia, we also see three wise men (in Phrygian caps).

So, if we do not limit ourselves only to the testimony of Luke, but try to identify a wider range of literary sources for the theme of the Birth of Christ, then it turns out that this plot breaks up in Western art into several iconographic types that were firmly established by the Renaissance. To outline them, it is necessary to consider a number of "motives" included in this plot and find out their literary program: 1) The arrangement of the Virgin Mary (in a house [under a canopy] or in a cave); 2) Two maidservants and the washing of the Baby; 3) Adoration of the Infant; 4) Star; 5) Angels; 6) Flowers; 7) An armful of hay; 8) Shoes. Let's consider them sequentially.

ARRANGEMENT OF THE VIRGIN MARIA (IN THE HOUSE [UNDER THE CANOPY] OR IN THE CAVE)

With the determination of the place where the scene of the birth of Christ should be placed, artists have always had many problems. On the one hand, they relied on the testimony of Matthew: “And entering the house (...)” (Matthew 2: 11). Speech here at Matthew it is about the Magi who came to bow. But, strictly speaking, the Magi appeared many later, to consider their arrival "at home" as proof that the birth of Christ took place here. However, early artists preferredThis is how they interpreted the scene of this plot. It can be stated that in the early depictions of the birth of Christ, the action takes place under canopy,which symbolizes the house. During the Renaissance, artists depictedthe house where the Virgin Mary gave birth, in the form of a dilapidated building (shack) - shesymbolized the Old Testament, which Christ appeared in the world to replace with the New( ).

Robert Campin. Birth of Christ (1425). Dijon. City Museum ).

The choice by the artists of a different place for the giving birth of the Virgin Mary - the cave -based on the mention of her by Justin Martyr in his "Dialogue with Tryphon" ( II century), who saw in such a birth of Christ the fulfillment the prophecies of Isaiah; cf .: “When the performers of the Mithras Mysteries say that hewas born of a stone, and the place where they initiate believers in it is called cave, then do not I see that they borrowed this from the words of Daniel (...) and also from the prophet Isaiah (...)? " (Justin Martyr. "Dialogue with Tryphon", 70) withIsaiah's prophecy: “He will dwell in the heights; his refuge- impregnable rocks ”(Isa. 33:16). This tradition is clearly articulated in many apocrises.physical texts, in particular in the Proto Gospel of Jacob (which, apparently Mu, Justin Martyr knew), where it says: “(17) And he took Her off the donkey and said to Her: Where can I take You and hide Your shame? For the place is deserted here. (18) And he found a cave there, and brought her (...) "(Proto Gospel, 17- eighteen). Can indicate other literary sources of this pictorial tradition. The first images of the birth of Christ in a cave refer to VI - VII centuries. In a cave depicted the birth of ChristPietro Cavallinion his mosaic inChurch of the Site Maria in Trastevere in Rome.

Pietro Cavallini. Birth of Christ (1291). Rome. Church of the Site Maria in Trust faith.

In general terms, its compositionfollows the canons of Byzantine iconography, but in pictorial forms bears the stamp of the Roman tradition. This fresco is extremely interesting becausecombines several literary programs–testimonies of the Gospel of Luke, the Gospel of Matthew, the Proto-Gospel of James, and in addition, makeslocal - Roman - details in the interpretation of the plot. Luke has an artist borrowingshaft: 1) hotel picture–a house with a tower in the foreground; inscription explains: “taberna meritoria"(Lat. –rental dwelling) ("it was notplaces in the hotel ". OK. 2: 7), 2) evangelism to the shepherds: Angel with a parcel post, on which text:

« Annutio uobis gaudium magnum»

(lat. - "I declare to you great joy. " OK. 2:10).

The artist borrowed a star from Matthew, whichbrought the Magi to Bethlehem. Jacob (from the Proto Gospel) - a cave, in whom the Virgin Mary gave birth to, as well as the image of Joseph frozen in thought:“... and went to look for a midwife in the district of Bethlehem. And so I, Joseph, walked and did not move. And he looked at the air and saw that the air was still, looked at the firmament and saw that it had stopped and the birds of the air stopped in flight (...) "(Proto Gospel, 18). Finally, my contribution tothe development of the program for this mosaic was introduced by Cardinal Jacopo Stefaneschi, known Strict patron of the early Trecento: in the foreground next to the hut and the tower shows the source of fragrant oil, which, according to legend,in Rome at the time of the birth of Christ. Above this source was placedChurch of Santa Maria in Trastevere, as evidenced by the inscription picture:

« Jam puerum jam summe pater post tempora natum / Accipimus gentium tibi quem nos esse coevum / Credimus hipcqi clei scaturire liquamina Tibrum»

(lat. - "He, the Infant and the eternal Father, as an equal to us, as a contemporary, was born among us. We believe that myrrh (mercy) flows from here, like the waves of the Tiber").

Only to those who do not know what the khan is, that is, a hotel in the East - the kind where Joseph and Mary could have stayed - it might seem that the testimonies of Luke and Matthew do not agree with each other. In fact, "house" and "cave" can mean almost the same thing. The khan or caravanserai in the East was a low building, the walls in its rooms were only on three sides, and everything that happened in the room was open to the eyes of a stranger. There was also a place (yard) for cattle, and the room was separated from the yard by only a few steps. But the most interesting thing from an archaeological point of view is that the khans were built, or rather, attached to the numerous caves in those places. It was one whole. Thus, the attempts of artists known to us to reconcile these two testimonies, depicting the entrance to the cave and a canopy above it (Botticelli).

Sandro Botticelli, The Birth of Christ (1500) London.

National Gallery.

Wed With Giotto. Birth of Christ (1304 -1306). Padua. Scrovegni Chapel ; cm. Worship of the Magi), do not so much sin against the truth.

TWO SERVANTS AND BABY WASHING

Sometimes the birth of Christ is interpreted by artists as the actual scene of childbirth (cf. THE BIRTH AND DESTINATION OF JOHN THE BAPTIST AND THE BAPTIST). In this case, two midwives are depicted (Salzburg (?) Master).

Salzburg (?) Master. Birth of Christ (c. 1400). Vein.

Gallery of Austrian Art.

We learn the details of this story from the same Proto-Gospel of Jacob: the midwife, whom Joseph found, witnessed the birth of the Savior (“Salvation was born to Israel”); She told about this to Zelomiya (otherwise - Zelemia; in the Proto Gospel - Salome): “(19) Salome, Salome, I want to tell you about a wonderful phenomenon: a virgin gave birth and kept her virginity. And Salome said: As the Lord my God lives, until I stretch out my finger and test her virginity, I believe that the virgin has given birth. (20) And as soon as Salome held out her finger, she cried out and said: Woe to my unbelief, for I dared to tempt God. And now my hand is taken away as if on fire. And she fell on her knees before the Lord, saying: The Lord is the God of my fathers, remember that I am of the seed of Abraham, Isaac and Jacob, do not disgrace me before the son of Israel, but show me mercy for the sake of the poor: For you know that I served You in your name Yours and from You I wanted to receive retribution. And then the Angel of the Lord appeared before her, and said to her: Salome, Salome, the Lord heeded you, raise your hand to the Baby and support Him, and salvation and joy will come for you. And Salome came up and took the Child in her arms, saying: I will worship Him, for the great king of Israel was born. And Salome was immediately healed and left the cave saved ”(Proto Gospel of Jacob, 19 - 20).

The name of the second midwife, according to tradition, the one that did not doubt the divine origin of the Infant, is Zelomiya.

As for the washing of the Infant by midwives, there is no story about this either in the Apocrypha or in other monuments of ancient writing. The artists conjectured this scene based on the presence of midwives. But the child who was born sinlessly did not need any cleansing (washing). Moreover, he did not need the midwives themselves. Their persistent presence, however, in the paintings of the old masters can be explained by the desire to have witnesses of the miraculous birth of Christ.

Often the theme of the Adoration of the Infant (see below), as well as other plots directly adjacent to the plot of the birth of Christ, in particular the Annunciation to the Shepherds or Adoration of the Shepherds ( Kampen ). Here we recognize the maids not only by the characteristic gesture of Zelomiya's “paralyzed” hand, but also by the words inscribed on the characters' parcels. So, Zelomiya, depicted with her back to the viewer, has inscribed on the ribbon:

« Virgo peperit filium»

(lat. - "The virgin gave birth to a son")

Zelomiya has, firstly, her name and, secondly, the words:

« Credam cum probavero»

(lat. - "I will believe when I present it clearly"])

The Angel speaking to Zelomiya:

« Ta, puerumet sanaberis»

(lat. - "Touch the Baby and you will be healed)

This interpretation of the theme of the Birth of Christ disappeared after it was condemned by the Council of Trent (1545-1563).

BABY WORSHIP

The cult of piety, which in various forms spread widely in XIV – Xv centuries, its roots go back to previous centuries - XII – XIII century. It grew out of the mysticism of Bernard of Clairvaux (1090 - 1153), the founder of the Bernardine order, whose core of teaching was love for the Christ Child and for Christ the Passion-bearer, as well as for the Virgin Mary. Yakov Vorraginsky in The Golden Legend often quotes Bernard. He, in his reasoning about the birth of Christ, pays special attention to the poverty of the environment in which it took place. Francis of Assisi (1181/2 - 1226) took the cult of "holy poverty" to the limit.

The work of the Franciscan monk Giovanni de Caulibus (Pseudo-Bonaventure), in particular his “Meditaciones vitae Christi"(" Reflections on the Life of Christ "), as well as Brigitte of Sweden (c. 1304 - 1373), a seer who visited Jerusalem in 1370 and managed to publish"Relationes de vita et passione Jesu Christi et gloriosae virginis Mariae matris eius"(" Revelations about the life and passions of Jesus Christ and the glorious Virgin Mary, His Mother "). The revelations of this nun very soon became known to her contemporaries. This is confirmed by the fact that her descriptions, in particular scenes of the Birth of Christ soon after the publication of her work, began to be reproduced in paintings that interpreted this plot as Adoration of the Infant (sometimes artists even depicted herself in the costume of the Order of the Brigittes, which she founded).

Since both texts - by Giovanni de Kaulibus and Brigitte of Sweden - related to this plot, are extremely important for understanding the details depicted by the artists, we will give them in full.

GIOVANNY DE CAULIBUS (PSEUDO-BONAVENTURA)

“When it was time to give birth — it was about midnight on Christmas Day — Mary got up and leaned against the pillar that was here. Joseph sat next to him, saddened, probably because he could not prepare everything needed for the birth. He got up, took hay from the manger, laid it at the feet of the Virgin Mary, and turned away. At that moment, the Son of God left the womb of the Mother without causing her any pain. So He ended up in the hay at the feet of His Mother. After washing Him, She wrapped Him in Her veil and laid Him in a manger. We were told that the ox and the donkey bowed their heads over the manger in order to warm the Infant with their breath, as they understood that in such cold weather a barely sheltered Infant needs warmth. The mother, however, kneeling down, prayed and gave thanks to God: I thank You, Lord and Heavenly Father, for giving Me Your Son, and I pray to You, the Eternal God, and You, the Son of the Living God and My Son. "

BRIGITTA SWEDISH

“When I appeared before the Lord's manger in Bethlehem, I saw a Virgin of extraordinary beauty (...), tightly covered with an elegant tunic, through which the virgin body was clearly visible (...). Together with her there was a kindly old man, he brought an ox and a donkey; they entered the cave and the man tied the animals to the manger. Then he went out and brought a candle to the Virgin, attached it to the wall and went out, so that at the birth of the Baby it was not. Meanwhile, the Virgin took off Her shoes, threw off the white cape that covered Her, took off the veil from her head, put it on the side of Her and remained in one tunic, with wonderful golden hair that fell loose on Her shoulders. Then She took out two small pieces of linen and two pieces of wool, which She brought with Her to wrap the Infant who was destined to be born in them (...). And when everything was ready, the Virgin knelt down with great respect in a praying position and turned her back to the manger, Her face was turned to the east, and her gaze was directed to the sky. She was in ecstasy, immersed in contemplation, She was overwhelmed with admiration for divine tenderness. And standing like this in prayer, She suddenly discovered that the Baby in Her womb was stirring, and suddenly She gave birth to a Son, from Whom emanated unspeakable light and brilliance, so that the sun could not compare with Him, and even more so the candle that Joseph set here, - the divine light has completely absorbed the material light. And this birth was so unexpected and instantaneous that I could neither discover nor understand through which member of her body She gave birth. I saw the Infant who had come from nowhere, lying on the ground - naked and emitting light. His little body was completely clean. Then I heard the singing of Angels, it was unusually gentle and beautiful. When the Virgin realized that she had already given birth to Her Baby, She immediately began to pray to Him: Her head bowed and her arms crossed over her chest. With the greatest reverence and reverence, She said to Him: "Glory to Thee, My God, My Lord, My Son."

Examples of scrupulous adherence to literary sources describing the birth of Christ, and primarily the works of Giovanni and Brigitte, can serve as paintings on the theme of Adoration of the Child by Dutch artists of the golden age of painting in this country. The classic example is Rogier van der Weyden's "Adoration of the Infant" in the triptych of the so-called "Altar of Bladelen" (otherwise called the "Middelburg Altar") (Rogier van der Weyden. Adoration of the Infant (Altar of Bladelen) (1446-1452). Berlin-Dahlem. Picture painting. gallery of the State Museum). So, here is depicted a column against which, according to Giovanni, the Virgin Mary leaned against (the column in the Adoration of the Child plot plays a double role: as a detail of Giovanni's story and as an allusion to the future sufferings of Christ, when he, tied to the column, will be scourged; see. THE WHIPPING OF CHRIST... The column became one of the instruments of the Passion of the Lord; she appears in the hands of the Angels in the scenes where they carry these instruments). "The most virtuous old man", the candle, the light of which is drowned out by the wonderful glow of the Child - all this is borrowed by Rogier from Brigitte. According to her description, the artist also created the image of the Virgin Mary - in a white tunic, with loose golden hair, standing in a prayer pose. Often, Jesus responds to Mary's prayer with a movement of his hand, which can be considered a blessing gesture ( ).

Unknown master from Avila. Birth of Christ (1464-1476). Madrid. Lazaro Goldenano Museum

GUIDING STAR

At first glance, frequent images of a star in the scene of the Birth of Christ have a simple explanation: this is the star that appeared to the Magi and led them to the place of Christ's birth. Perhaps, in most cases, artists included this motive in the scene of the Birth of Christ, proceeding from the idea that the star appeared at the moment of the birth of the Child. The adoration of the Magi with a star is such a widespread iconographic type (see. Worship of the Magi), which seemed natural to use the star in this case.

However, in this plot, the star may have a different explanation. In the Proto-Wang Lia of Jacob, which, as we have already seen, was widely used as a literary program, there is no direct reference to the star, but only the extraordinary light in the cave where Christ was born is said. And if this source was the basis for many other iconographic "motives", then it is quite reasonable to assume that it also explains the image of a bright light in a cave with the help of a traditional image - a star. In this case, it would be a mistake to see in this star always and only the Star of the Magi.

ANGELS

A host of angels praying and singing a song of praise is mentioned by both Giovanni and Brigitte. We see them in Rogier van der Weyden and many other artists. The number of angels can be symbolic. So, in "Adoration of the Infant," fifteen are depicted on them.

Hugo van der Goes. Altar of Portinari. (1473-1475). Florence.

Uffizi Gallery.

We find an explanation of the symbolism of this number in a contemporary and compatriot artist of the preacher of the Dominican order Alan van der Klip (Alain de la Roche, 1428-1475): the full cycle of prayers of the Brotherhood of the Rosary, to which this preacher belonged, contains fifteen prayers "Pater noster" ("Our Father"); alternating with a hundred and fifty prayers " Ave Regina", They symbolize the fifteen events of the PassionChrist's. "15" is also the number of virtues: 4 "cardinal" (courage,wisdom, moderation, justice), 3 "theological" (faith, hope,love) and 7 "basic" (humility, generosity, chastity, self-contentment, self-control, calmness, hope) and 2 more - piety and repentance. In total - sixteen, but moderation and abstinence in entities are the same. In this way different there are only fifteen virtues. And finally, another possible explanation for the number 15: this is the number of "psalmsascent "(song of ascent)- psalms 119 - 133. According to their number,also depict the number of steps of the temple in the paintings "Introduction of the VirginMary in the Temple "(see Dresden painting by Cima da Conegliano" Introduction of the Virgin Mary to the temple "). Another number of steps in the plot "Introduction of the Virgin Mary to the temple "-10- symbolizes the Ten Commandments (see Ghirlandaio. History of Mary: a) The birth of Mary, b) Introduction to the temple. Florence. Church of Santa Maria Novella. Tornabuoni Chapel)

GLORIA

Often, artists, especially Dutch ones, give the angels musesmusical instruments and notes, and if these notes reproduce realmusical works, which was also done quite often, these are hymns onLatin text from Luke:

« Gloria in Excelsis Deo et in Terra Pax Hominibus Bonae Voluntatis »

(Latin - "Glory to God in the highest, and on earth peace, and good will in men."

OK. 2:14)

Cm.: . Birth of Christ (1512). Naples. National Museum and Galleries of Capodimonte

Jacob Cornelis van Ostzanen. Birth of Christ (1512). Naples. National Museum and Galleries of Capodimonte

In the book that holding an angel in the foreground of the picture, a four-part hymn is recorded on this text, all four musical parts - bass, tenor, alto and soprano - are easy to read. Angels sing this hymn on different instruments - shalmey, trumpets, psalterium; many singing and playing angels pictured but also in the background; there are thirty-three angels in total, which corresponds to the number of years Christ lived.

The engraving "Annunciation to the Shepherds" by a Dutch master is extremely interesting from a musical point of view Xvi century by Johannes (Jan) Sadeler the Elder "Annunciation to the Shepherds" (based on the composition of Martin de Vos).The angel in the center holds a parcel with the text from the Gospel of Luke:

Ecce enim evangelizo vobis gaudium magnum quod erit omni populo quia natus est vobis hodiesalvatorqui est Christus Dominus [in civitate David]

(Lat. - Do not be afraid; I proclaim to you great joy that will be to all people: for now a Savior was born to you in the city of David, who is Christ the Lord. - Luke 2, 10 - 11).

The angels soaring in the sky have the parts of the nine-voice motet "Gloria in excelsis» ... All musical parts are reproduced very accurately.

Johannes (Jan) Sadeler the Elder. "Annunciation to the Shepherds" (based on the composition of Martin de Vos).

Millions of people believe in Jesus Christ, although his existence is highly controversial. He is admired, loved, worshiped. As stated in the Bible, and in accordance with Christian beliefs, the Lord God impregnated the Virgin Mary. She gave birth to Jesus, who performed incredible miracles: walked on water, gave sight, turned water into wine, healed cripples and raised the dead. Many professional artists and simply lovers of painting depict Jesus Christ in their canvases, but children's drawings drawn with an ordinary pencil carry a special energy.

The drawings of Jesus Christ are very compelling. They not only give a visual representation of a person, but also speak about his essence.

It would seem that the portrait shows something quite obvious, but the author cleverly "hides" a deep meaning in it. Through a certain expression or posture, an additional object (a crown of thorns) or the use of certain colors, the artist reveals the soul of a great man.

Often, the work becomes iconic, representing a group of people from a certain period of time who have something in common, such as the birth of Jesus.

Even one cradle with the Star of Bethlehem at its head speaks of the birth of our Savior.

Sometimes it seems that the face of Christ has a stern or frowning look, but this is a misconception. Christ is our salvation and his gaze is always loving.

It is important when depicting the Almighty to correctly draw eyes - the gateway to the human soul.

Sometimes one eye is depicted facing the viewer, and the other is turned slightly to the side. It is said that this is how Jesus views his destiny.

It is through the shape of the neck that the authors convey the full breath of God and the holy spirit.

The Almighty came to our earth to save and protect all of humanity.

Pencil drawing of the crucifixion of Jesus Christ, drawing scheme in stages

Jesus Christ gives people hope, trust and faith. Looking at the images of the crucifixion of Jesus Christ, you really believe that he died for our sins. Drawing such events requires from the author understanding and admiration for a really big sacrifice.

Option number 1

There are six specific steps that you can follow to create a suffering drawing of the Supreme.

To begin with, they are determined with the shape of the body. Start with a circle for the head and elongated torso. After creating the base, add lines of the limbs for the neck, arms and legs.

Move on to sketching shoulder-length hair, a sketch of a beard and a crown of thorns. The shape of the torso and arms is rounded.

When the upper part of Jesus' body is ready, you can draw the shape of the cross. Having completed the outlines of the arms, proceed to the waist, loincloth and legs.

The next step is to draw outstretched wings. Add fabric with fold lines on the lower back. Then they go down, where they finish drawing the lower part of the cross.

On the large angel wings, feathers are added and the original lines that were drawn in the first stage are erased.

The sketch of the drawing is ready, although you can add a few shades.

Option number 2

Before starting to draw Jesus, determine the size of the figure. Accordingly, the silhouette is selected based on the height of the sheet. This is necessary to maintain the proportion between the sheet and the actual design.

Initially, a cross is drawn. It will serve as the foundation for the body. The pressure of the pencil is not made large so that at the end of the work it is easy to erase the guides.

Determine the space that the drawing will occupy vertically and horizontally. Jesus' arms will be stretched out to the sides. Therefore, a good paper size is required. Draw the head and hands. At the top of the vertical line, an oval is made for the head.

Draw a large rectangle to serve as the torso. Then draw the details of the hair, eyes, nose, lips and beard.

Begin to detail the drawing with the hair. To do this, depict wavy or straight lines starting at the top of the head and falling down to the shoulders.

Don't worry if the strands look uneven.

Work with the face. A little below the forehead, eyebrows are drawn, and below them - eyes (always with a pupil), adding two stretched curved lines. Then they start sketching the nose and mouth.

The lips should be slightly curved upward, as the masters show the smile of Jesus. A mustache and a beard are made around them. The first vegetation is shaded vertically, and the second is performed horizontally. The beard starts from the lips and extends to the ears. It looks like a downward pointing triangle.

Then two ovals are made at the end of the arms. Later, fingers will be drawn from them, which will be curved upward.

Long lines depict a robe, not forgetting to add extra strokes for folds on the clothes. They are darkened or shaded at the fold lines, for example, at the folds. Form the fingers on the hands and pass again along the contour of the drawing. Remove unnecessary details with an eraser.

Option number 3

Step by step video tutorial for drawing the crucifixion of Jesus. The author filmed it in some detail, so it is quite possible to repeat the above technique.

Pencil drawing of the birth of Jesus Christ, step by step with a photo

When they draw an important Christian event - the Nativity of Christ, they immediately recall the crib in the manger, where the baby first appeared. The scenes are accompanied by the magic of the night star, wandering shepherds, pets, exotic magi bringing gifts from the East, as well as a proud father and Mother of God.

Option number 1

This drawing is done in the form of a greeting card.

To begin with, make a circle in which the animal nursery is placed.

Then, in the feeding trough, they depict a lying baby wrapped in a sheet.

Grass protrudes from the cracks and over the manger.

The next step is to add a lamb, a glow around the baby's head and the glow of the star of Bethlehem.

You can add bells, spruce twigs and a congratulatory inscription. Twigs are made from the curve from which the other small branches come.

Option 2

To paint the birth of Jesus, it is not necessary to depict all the details of the event. Sometimes it is enough to show the baby in a cradle on a haystack.

To begin with, create an elongated shape for the head. Just below its center, a horizontal line is drawn to place the eyes.

At the right end of the line, make a slight bulge for the cheeks. Nearby, a brush is drawn with tiny fingers.

Eyes are placed on the drawn horizontal line, eyelashes and eyebrows are drawn. A rounded nose is made between the eyes, and then the mouth and lips. Be sure to make curved lines at the corners for the roundness of the cheeks.

Then they draw a light hairline and proceed to the image of the second hand, which is shown from under the blanket.

The baby's body is lengthened and the edges of the basket are added, over which the edge of the blanket is lowered.

The basket can be depicted in different shapes, it all depends on the imagination of the author.

Remove unnecessary details with an eraser.

The birth of Jesus Christ in color, step by step with a photo

What is Christmas without a Christmas den? The following figure is for more experienced writers. The Christmas action is crowned with a Star of David over the trough. The baby himself is peacefully sleeping in a basket filled with hay. Next to him are Mary and Joseph, and on the sides are sheep.

Make ovals for all six characters involved in Christmas.

Further, they are determined with the forms of people, angels and animals.

Knowing where each character is located, they begin to draw the corresponding faces. The child is asleep, so his eyes are closed, and hoods are thrown over the heads of Joseph and Mary.

They begin to draw the bodies and clothes of the heroes, as well as the curls of the sheep's wool.

They approach the wings of an angel, as well as the halos above the heads of Mary and Joseph. They draw a blanket that is wrapped around the baby.

Drawing of Jesus Christ superstar, step by step from photo

The attitude to the musical "Jesus Christ Superstar" is ambiguous, because the whole production is based on rock songs. The storyline is based on the last days of Jesus' life and contains many elements of the biblical story: the betrayal of Judas, the arrest and crucifixion of Jesus.

Picture №1 The versatility of the greatness of Jesus

In this picture, Jesus is looking slightly to the side. He has a pensive and tired look, but from the face of the saint there is a glow.

They begin by drawing an oval, which is divided by a vertical line for the elements of the face. Around the contour, wavy strands of hair and an oblique line for the shoulders are made.

Detail hair for more realism. Two loops are made on the left side, which will later become the ear. Then the strokes are drawn for the eyes, nose and beard.

Continue sketching out the front hairline that surrounds part of the face. Shape the eyes and apply a shadow to the right side.

Mark the location of the mustache and beard, continue to detail the neck and chest area.

In the fifth stage, the shading process begins in the area around the eyes, which will give depth and realism to the face. Repeat the same with the left eye, moving further down to the cheek. Slightly shade the area around the tip of the nose, lips and mustache. The hair lines above the forehead and the robe should also be shaded.

Remove all guiding shapes and continue shading the entire top of the head, mustache and beard.

Drawing Christ is a request for the blessing of all thoughts and undertakings, as well as the maintenance of Christian teachings and a book containing Scripture. A strong portrait always captivates and grabs the viewer's attention. He makes us think about a great man who devoted himself entirely to serving people.