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Man of Sorrows

Christ standing upright, naked except for a loincloth. His facial features reveal the suffering he has endured. He bears the stigmata on his hands and feet, as well as a bleeding wound on his side. A wide cope hangs from his shoulders, with a clasp depicting a pelican feeding its young with its own blood, symbolising Christ’s sacrifice. Five winged angels surround Christ, with three of them presenting the Arma Christi, the instruments of torture that wounded Christ before his crucifixion. The top angel holds the crown of thorns above his head. Two angels theatrically open Christ’s cloak, revealing his body. The angel on the left holds the spearhead that pierced Christ’s side, while the angel on the right likely held the now-lost nails that were used to crucify him. The Arma Christi are also the ‘weapons’ through which Christ triumphed over death. The crown of thorns therefore becomes a royal crown, and the humble garment that Christ was mockingly dressed in transforms into a regal robe. This Man of Sorrows is known as an ‘Andachtsbild’, representing the essence of the Christian faith: why God became human and why Jesus had to die. In worship of such an image, believers engaged in a personal and intimate dialogue with Christ. The depiction encouraged them to feel compassion, seek penance and strive to follow Christ’s example. They witnessed Christ’s resurrection and the promise of redemption and eternal life. Notably, through prayer, they earned indulgences or forgiveness of sins. The sculpture is meticulously crafted on all sides, despite its small size. Given its complex themes, high artistic quality and small scale, it was likely intended for private use by a clergy member or a wealthy, possibly royal patron.

Partner
Museum Mayer van den Bergh
Dating
1450 - 1460
Creator
Unknown
PID
zs2k67g69d
Rights status
Public domain
  • Inventory number cp: -
  • Top item ID: 674
  • Format: 3D
  • Dimensions: 395 x 174 x 128 mm
  • Material: alabaster

Source: unknown, 1450 - 1460, Man of Sorrows, Museum Mayer van den Bergh, Public domain