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This panel painting with gold background has a semicircular top edge and depicts a half-length image of Christ wearing a scarlet robe with hands clasped relatively high on his chest and crowned with thorns. The Latin inscription on the lower front edge of the frame, which states PER VIA ATENDITE ET VIDETE is the second half of the text of Lamentations 1:12, "Is it nothing to you, all ye that pass by behold, and see if there be any sorrow like unto my sorrow." Christ faces forward and his emotive face is inclined towards his right, the viewer's left, with his gaze also turned towards the same direction. These factors indicate that the painting was originally the right painting in a pair or diptych, and it can easily be surmised that the pendant work would have been an image of the Grieving Madonna inscribed with the first half of the text, "is it nothing to you, all ye that pass by" .Here Christ is shown wearing a long-sleeved scarlet robe, with hands clasped in front of his chest. This pose differs from that of the "Ecce Homo" image with his hands widespread, and also diverges from the "Man of Sorrows" image with its lack of his wounds. According to Panofsky, this new type of Christ iconography known as the "Imago Salvatoris Coronati," combining the Salvator Mundi with Christ suffering the Passion, was created by Dirk Bouts. Members of Bouts' studio made a number of copies of this image to be paired with images of the Grieving Madonna. According to Schöne, this painting is one of the best replicas of the original Bouts painting thought to have been created around 1450. The red-eyed figure of Christ, crying as he suffers, combined with the crying figure of the Madonna reflects the careful finishing of details and the sentimentalism-laden religious sensibility characteristic of Bouts and early Flemish painting.(Source: Masterpieces of the National Museum of Western Art, Tokyo, 2009, cat. no. 7)

Details

  • Title: Christ Crowned with Thorns
  • Date Created: Undated
  • Location Created: The Netherlands
  • Signatures, Inscriptions, and Markings: Inscription by a later hand on the lower part of the frame: per via, Atéd[ite] et [vi]dete (overwritten on the half-effaced inscription in capital letters: PERVIA ATED[...] ET VIDETE); on the back of the panel: Esta ymagen, m[and]o, / En su testam[ent]o, A este monas / t[eri]o, de la concepcíon, de / la puebla, la muy ill[ustr]e, señora / doña leonor chacõ partona / y fùdadora, del dicho monast[eri]o / Mandoselas con cõ dicion / que no las puedan dar ni / prestar, y que si las prestarã / las puedan tomar los cleri / gos para la yglesia de es / ta villa
  • Provenance: Doña Leonor Chacón; Monasterio de la Concepción, La Puebla; Cabot, Barcelona; W. Simonsen, São Paulo; K. Gratwohl, Zürich-Erlenbach; Sotheby, Parke Bernet, London.
  • Physical Dimensions: w305 x h440 mm
  • Painter: Dirk Bouts (follower of)
  • Object title (Japanese): 荊冠のキリスト
  • Object notes (Japanese): この作品は上部が半円形をなす板にバックを金地とし、やや胸高に組んだ両手を下限として描かれた緋衣荊冠のキリストの半身像である。額縁の前面下端にRER VIA ATENDITE ET VIDETEと読めるラテン語銘文が記され、これは「すべて道を行く人びとよ、汝ら尋ね見るべし」(旧約聖書「哀歌」第1章12節)の後半である。正面を向いたキリストは心持ち頭を右(向かって左)へ傾け、視線をもそちらへ向けている。この姿勢は左に対幅の存在することを示すものであり、それが銘文の前半であるO VOS OMNES QUI TRANSITISを記した聖母像であることは容易に推測される。本作品のキリストは長袖の緋衣を着用し、両手を交叉させるのではなく組んでいる点において「エッケ・ホモ」と異なり、また傷痕を欠くことにおいて「悲しみの人」とも違う。このようなキリストの図像は、パノフスキーに従えば「荊冠の救世主」(イマゴ・サルヴァトーリス・コロナーティ)と呼ばれ、ディーリク・バウツによって始められたと言う。この図像は、「悲しみの聖母」(マーテル・ドロローサ)と組み合わせたかたちにおいて、彼の工房で多数の模作(レプリカ)が作られた。本作品もそれらのーつであり、シェーネは、1450年頃の制作と推定される原画の最良の模作であるとしている。眼を赤く泣き腫らして悲しみに沈むキリストや聖母の姿は、宗教的心情を、時にはいささかの感傷性を持って、細部の入念な仕上げのうちに表現したバウツの、そして初期フランドル絵画のーつの側面を端的に示したものといえよう。(出典: 国立西洋美術館名作選. 東京, 国立西洋美術館, 2006. cat. no. 7)
  • Artist Name (Japanese): バウツ、ディルク(派)
  • Type: Paintings
  • Rights: http://www.nmwa.go.jp/en/information/privacy.html
  • External Link: The National Museum of Western Art, Tokyo
  • Medium: Oil on panel

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