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Representation Of The Crucified Christ

Christus Triumphas crucifix of the Umbrian school , XII ^century

Christus patiens, icon of the School of Novgorod

Christus dolens, Crucifix Cimabue

The representation of Christ on the cross for the iconography Christological representation of Christ on the cross only his Crucifixion (the whole scene with his usual attributes: presence of Mary, John, Mary Magdalene, thieves, soldiers, Mount Calvary ...).

This representation was made by painting on tables or crucifix painted in the Byzantine period to tabellone ^{Details of the conventions of different postures on the Cross of Christ on the crucifix was painted tabellone}

Christus Triumphas Christ triumphant

Living Christ seconded the suffering of the Cross:

Head up (sometimes facing the sky)
eyes open
body straight,
Blood can flow from wounds.

Typical examples

Crucifix # 15 , monumental of 5.50 m in height, the National Museum of San Matteo (Pisa) (IT) (late ^twelfth century ),
Crucifix of Christ living in Berlinghieri of Lucca ,
Crucifix of San Damiano , Assisi,
Batll Majesty , XII ^century , Barcelona.

Christus patiens, resigned Christ

Additional scenes on tabellone ends

Dead Christ (kenosis) of the Representation Eastern (Byzantine) showing deformation due to abuse:

Face turned, seized by the emaciated dead in a serene pose,
eyes closed from death mask,
collapse of the body,
bleeding wounds (hands, feet and side)

Typical examples

Crucifix ^No. 20 of the Museo Nazionale di San Matteo in Pisa ( XIII ^century ).
Crucifix Coppo di Marcovaldo (circa 1250)
Crucifix Crucifix del Maestro di Pisa bizantino
Duecento crucifixes and Trecento, national art gallery in Siena.

dolens Christus, Christ suffering

Following the precepts Franciscans of the humanization of divine characters of the Passion:

Head down on the shoulder
eyes closed either absent enucleated (empty sockets).
marks on the face of pain,
the mouth is curved downward,
wounds are bleeding (hands, feet and right side)
The twisted body sway, arched in a spasm of pain, suffering its weight land
mapping of the muscles and ribs.

Typical examples

Crucifix Maestro di San Francesco (c. 1265-1270), Muse du Louvre
Crucifix by Cimabue (Florence, Arezzo)
Crucifix by Giotto (Malatesta Temple, Rimini)
Crucifix by Segna di Bonaventura , national art gallery in Siena.

Some artists have used these illustrations and descriptions

Lorenzo di Bicci , Muse du Petit Palais (Avignon)
Neri di Bicci
Giotto (dolens)
Cimabue (dolens)
Coppo di Marcovaldo (patiens)
Giunta Pisano (dolens)
School of Lucca (triumphans) with Berlinghieri
Umbrian school (triumphans)
Paolo Veneziano (triumphans)

Croce e sagomata dipinti

To express more plasticity, Italy, the end of Byzantine painting, with its crucifix tabellone, occurs primarily by Croce and sagomata dipinti, crucifixes featureless silhouettes painted fretwork and, like those run by Lorenzo Monaco , to the hospital Santa Maria Nuova in Florence (now kept at the Galleria dell'Accademia in Florence ) .

Lorenzo Monaco, Budapest Crucifix , Croce sagomata dipinti and the Accademia and Santo Spirito in Florence

References

Scenes further added to the ends of the cross
Author unknown
Record of bseditions encyclopedia

Sources

Many cartels crucifix on the floor of the Trecento and Duecento National Gallery of Siena.

Bibliography

Leclerq, "Cross and Crucifix" in Dictionary of Archaeology and Christian Liturgy. 3 (1914) 3045-3131.
Mornand stone, the face of Christ. Duccio. Giotto. Torriti. Cimabue. Bellini. Antonello da Messina. Masaccio. Fra Angelico. Memling. Van Der Goes. Van Der Weyden. Metsys. Van Orley. Ghent. Francke. Grunewald. Cranach The Elder. Morales. Botticelli. Rubens. Bibliothque des Arts, 1942
Jacques Landsberg, Didier Martens, cross art: the theme of crucifixion in art history, published by Renaissance Books, 2001 ( ISBN 2804604985 and 9782804604981 )
Gilles Chazal, The representation of Christ's face. Origins to Rouault. Conference, 2003
L. Ouspensky, Theology of the icon in the Orthodox Church, Cerf, 1982