戶籍紀/民數記:Chapter 21
上主遂聽了以色列人的請求，將客納罕人交在他們手裏，以色列人就毀滅了他們和他們的城；人遂給那地方起名叫曷爾瑪。
4他們由曷爾山沿紅海的路起程出發，繞過厄東地；在路上人民已不耐煩，
5抱怨天主和梅瑟說：「你們為什麼領我們由埃及上來死在曠野？這裏沒有糧食，又沒有水，我們對這輕淡的食物已感厭惡。」
6上主遂打發火蛇到人民中來，咬死了許多以色列人。
7人民於是來到梅瑟前說：「我們犯了罪，抱怨了上主和你；請你轉求上主，給我們趕走這些蛇。」梅瑟遂為人民轉求。
8上主對梅瑟說：「你做一條火蛇，懸在木竿上；凡是被咬的，一瞻仰牠，必得生存。」
9梅瑟遂做了一條銅蛇，懸在木竿上；那被蛇咬了的人，一瞻仰銅蛇，就保存了生命。
The Brazen Serpent, 1549
Oil on wood panel, transferred to canvas
101.3 x 67.3 cm (39 7/8 x 26 1/2 in.) frame: 120.3 x 87.3 x 5.7 cm (47 3/8 x 34 3/8 x 2 1/4 in.) The Princeton University Art Museum.
The story of the Brazen Serpent is recounted in Numbers 21:4–9. While wandering in the desert, the Israelites were saved from a host of divinely sent poisonous serpents. God advised Moses to create “a fiery serpent, and set it upon a pole” so the afflicted could look upon it and be cured. The visual and typological parallels between the image and that of the crucified Christ made this an ideal subject for the outer wings of a Crucifixion altarpiece. Heemskerck’s Brazen Serpent once consisted of two separate panels covering a colorful Crucifixion panel now in the Hermitage Museum, St. Petersburg. The work’s limited chromatic palette, a technique known as grisaille, follows the widespread Netherlandish practice of covering vibrant inner panels with sober wing panels. The painting’s “sculptural” look also reflects Heemskerck’s interest in ancient works, such as the Laocoön, that he observed during his formative residence in Rome from 1532 to 1537.
No comments:
Post a Comment