Man of Sorrows(그가 찔림은 우리의 허물 때문이요 그가 상함은 우리의 죄악 때문이라)

 

 

 

(사 53:3)

그는 멸시를 받아 사람들에게 버림 받았으며 간고를 많이 겪었으며 질고를 아는 자라 마치 사람들이 그에게서 얼굴을 가리는 것 같이 멸시를 당하였고 우리도 그를 귀히 여기지 아니하였도다

(사 53:4)

○그는 실로 우리의 질고를 지고 우리의 슬픔을 당하였거늘 우리는 생각하기를 그는 징벌을 받아 하나님께 맞으며 고난을 당한다 하였노라

(사 53:5)

그가 찔림은 우리의 허물 때문이요 그가 상함은 우리의 죄악 때문이라 그가 징계를 받으므로 우리는 평화를 누리고 그가 채찍에 맞으므로 우리는 나음을 받았도다

 

 

 

 

 

 

 

Abraham Bloemaert 1566 – 1651

Man of Sorrows

oil on panel (81 × 63 cm) — 1645

  Cathedral church of St Gertrude, Utrecht

Abraham Bloemaert biography

 

This work is linked to Isaiah 53:3

Please scroll down to read more information about this work.

 

The painting shows elements from the story of the Passion. The seated Jesus wears the crown of thornes and has a red cape around his shoulders. In his hands he holds flagellation tools: whip and rod. Next to him is a basket with crucifixion equipment: hammer and nails, and a rope to raise the cross.

The title Man of Sorrows is derived from Isaiah 53:3-4, a passage that is often seen as predicting the coming of the Messiah. It was a very popular subject in the 15th century. The fact that the catholic painter Bloemaert made this panel, suggests that among catholics the popularity lasted well into the 17th century.

 

 

 

 

 

 

Geertgen tot Sint Jans ca. 1460/65 – ca. 1488/93

Man of sorrows

oil on panel (25 × 24 cm) — after 1486

  Museum Catharijneconvent, Utrecht

Geertgen tot Sint Jans biography

 

This work is linked to Isaiah 53:3

Please scroll down to read more information about this work.

 

This panel was probably once the left wing of a diptych. The other panel is no longer known.

The painting shows several subjects from the Passion. Christ with the crown of thorns, standing in the grave, with the wound in his chest. The spear and the stick with the spunge are held by an angel, in the background. In the top right are the instruments that were used to torture Jesus, including the pillar. The angel on the left is holding the nails that were used for the crucifixion.

The persons in the foreground are Mary Magdalene (praying), and the mourning Mary and John the Evangelist.

By placing the figures close to each other and not showing them in full, Geertgen made an intimate composition out of the multitude of subjects. Tomb and cross give structure to the image. The golden background creates a warm glow.

Geertgen may have had the intention to depict the suffering of Christ as a dramatic event. If so, he certainly achieved his goal. Art historians consider the panel to be one of Geertgen's five main works, among highlights such as John the Baptist in the wilderness.

The title Man of Sorrows is derived from Isaiah 53:3-4, a passage that is often seen as predicting the coming of the Messiah. It was a very popular subject in the 15th century.

 

 

 

 

 

 

Jacob van Oostsanen 1470 – 1533

Man of Sorrows

oil on panel (29 × 20 cm) — 1510

Museum Mayer van den Bergh, Antwerp

Jacob van Oostsanen biography

 

This work is linked to Isaiah 53:3

Standing in his grave Christ shows his wounds. Behind him a group of angels mourns. Blood from the wound in his chest is caught in a chalice. Similar cups are used during mass, symbolizing his blood.

In the background to the left a group of women mourns under the cross.

This small panel was probably used during prayer in someones home.