This union between the earthly liturgy, centred on the Eucharist, and the heavenly liturgy, centred on glorifying the Risen Lord, is emphasized in the Adoration of the Lamb panel through the presence of fourteen angels kneeling in adoration around the altar: in the foreground two of them are holding aloft an incense-burner, while four angels behind the altar are carrying (as has been previously mentioned) the instruments of the passion of Christ. Van Eyck's Ghent altarpiece - The Adoration of the Mystic Lamb is the lower central panel. The faithful who enter the heavenly Jerusalem through the Eucharist are not alone, but in the companionship of the saints – the multitude of the elect who are reborn through the blood of the Lamb:  “These are the ones who have survived the time of great distress; they have washed their robes and made them white in the blood of the Lamb” (Revelation 7:14). The liturgy reinforces and maintains this bond uniting all the Church: the Church of the living and the Church of the dead. The Adoration of the Mystic Lamb was painted with tempera and oil on panel. The Adoration of the Lamb is Jan Van Eyck’s greatest accomplishments of a Renaissance painter. My name is Ryan. The Eucharist celebrated at the altar is the manifestation of heaven which has descended to earth. : n. pag. Rich in Catholic symbolism, the painting symbols communicate that the blood of Christ that gives us life. In fact, you can see this creature being placed on the bottom of the food chain. The lamb has always been the symbol of sacrifice par excellence. The Lamb on the altar is not simply a sacrificial lamb. The Lamb of God bleeds into the chalice on the altar as a renewal of His sacrifice on Calvary Harris, Beth, and Zucker, Steven DR. “Jan Van Eyck, The Ghent Altarpiece (2 of 2).” Khan Academy. Commissioned and designed as an altarpiece, it comprises 12 panels, eight of which are hinged shutters painted on each side, giving two distinct views depending on whether they are open or closed. In the Eucharist, in fact, it is the Living Lord that we adore: “Once I was dead, but now I am alive forever and ever” (Revelations 1:18). The work (oil on wood) was begun in c.1420 by Hubert van Eyck and completed by his younger brother Jan van Eyck in 1432. Above this scene is the figure of God enthroned who looks down blessing us with his right hand. The rich red color could also symbolize Christ’s blood atonement. In the Book of Numbers, we read: “the priest shall take some cedar wood, hyssop and scarlet yarn and throw them into the fire in which the heifer is being burned” (Numbers 19:6). 10 June 2015. Web. During the first and second world wars, the painting was frequently stolen. “The Ghent Altarpiece.” In Heilbrunn Timeline of Art History. The Khan Academy’s Dr. Beth Harris describes the center of the inside panel of “The Ghent Altarpiece” as “an explosion of rich colors” only achievable by the skillful use of oil paints. The corresponding group on the right includes the twelve apostles kneeling in the front row and behind them the Christian martyrs identifiable by their red robes. Jesus says: “Let anyone who thirsts come to me and drink. “Ghent Altarpiece.” Wikipedia. In this scene, the heavenly hosts adore the Lamb of God—Christ—standing ‘as if slain’ (as it is cryptically described by the Book of Revelation (5:6)). Rich in Catholic symbolism, the painting symbols communicate that the blood of Christ that gives us life. Restorers found that the central panel of the artwork, known as the Adoration of the Mystic Lamb, had been painted over in the 16th Century. Though admittedly, the ‘Just Judges’ panel, which was stolen in 1934, is still replaced by a reproduction. It was painted with oils in the third decade of the 15th century (Glover). Jan van Eyck (c. 1390-1441) was involved, but may have just completed the work begun by another, otherwise unknown, painter. It’s about 11×15 feet in size and features full-length nudes, still life, and sumptuous detail and colors. The Ghent Altarpiece (open view), also called The Adoration of the Mystic Lamb, by Jan and Hubert van Eyck, 1432, polyptych with 12 panels, oil on panel; in St. Bavo's Cathedral, Ghent, Belgium. It's blood spurts out into a chalice. The heavenly Jerusalem in Gothic style : detail. Thank for providing such vast amounts of information on the The far right and left panels depict Adam and Eve as the original sinners in the world. The Ghent altarpiece: Adoration of the Lamb. Van Eyck brothers used an unusual technique handling glaze layers which resulted in … 10 June 2015. Also known as the “Ghent Altarpiece,” the world’s first major oil painting was created by Flemish brothers Hubert and Jan van Eyck. The altarpiece consists of 12 oak panels with eight that are hinged on shutters and painted on both sides. Whoever believes in Jesus Christ, will become a spring of water from this life-giving fountain. ( Log Out /  The throne of the Lord of the universe is described as follows: “Like the bow which appears in the clouds on a rainy day was the splendor that surrounded him. Charney, Noah. The garden of the Lamb is the paschal garden of the Risen Lord whose sacrifice transforms the whole earth into a Garden of Eden. There are three popes, six bishops and two deacons, a few monks and several lay people. God is wearing red robes and ornate gold jewelry. The centre panel of the Adoration of the Mystic Lamb depicts a heavenly mediaeval garden full of symbolism. The aim of this article is to reflect on the way the theme of the Eucharist is treated in Van Eyck’s masterpiece: the Lamb on the altar is the Christ-Eucharist, the risen Lord made present in his Church by the Sacrament of the Eucharist and by the Holy Spirit (symbolised by the dove above the altar). The absence of a celebrant at the altar evokes not only the fact that Christ is at once priest and victim, but also the fact that Christians themselves are invited to be a “holy priesthood” (see 1 Peter 2:4-5, Revelation 1:6, 5:10), and to take active part in the mystery of the Eucharist. (Encyclopedia of Art Education). From the basin at the base of the fountain, water flows into the foreground of the painting, almost towards the observer. He portrays them in the panel of the Adoration and in the four lateral panels as the various groups of people who are turning towards the Lamb. The confessors of the faith appearing in order of hierarchy : detail. Jesus’s side, pierced when he was on the cross, recalls the fountain that flows from the ancient temple described by Ezekiel, whose waters spread throughout the world: “but one soldier thrust his lance into his side, and immediately blood and water flowed out” (John 19:34). During the celebration of the liturgy, the Spirit is invoked in the epiclesis for the blessing and transformation of bread and wine into the body and blood of Christ. The creatur… In the Old Testament, the chalice is often a symbol of sharing, joy and abundance: “My cup runneth over. Anonymous. Depicts same location. In the New Testament, the colour red recalls the passion of Christ, and his sacrifice for the salvation of humanity. The group emerging from the bush in the background on the left are the confessors of the faith, in order of hierarchy. Change ), The Ghent Altarpiece – Cathedral of St. Bavon, The Adoration of the Mystic Lamb’s colorful Catholic symbolism, Get a closeup look at the Ghent Altarpiece, http://en.wikipedia.org/wiki/Ghent_Altarpiece>, http://www.theguardian.com/artanddesign/2013/dec/20/ghent-altarpiece-most-stolen-artwork-of-all-time>, http://www.visual-arts-cork.com/famous-paintings/ghent-altarpiece.htm>, https://www.khanacademy.org/humanities/renaissance-reformation/northern-renaissance1/burgundy-netherlands/v/ghent-altar-open, http://www.metmuseum.org/toah/hd/ghnt/hd_ghnt.htm, Introduction and appreciating Sergey Rachmaninov, Las Meninas: A Portrait of an Artist’s Brass Balls, https://en.wikipedia.org/wiki/Ghent_Altarpiece, Harlem Renaissance: Art for the sake of equality, Impression Launches a Radical Artisic Movement. The chalice, as well as having a clear liturgical significance, refers both to sacrifice and communion. The central panel of the massive 18-panel polyptych painted by Jan and Hubert van Eyck for the Saint Bavo Cathedral depicts the Lamb of God on an altar, encircled by kneeling angels. Change ), You are commenting using your Twitter account. This new life is evoked by the octagonal fountain (eight is the number of the day of the resurrection, understood as a new beginning, or new creation) with its twelve spouts, just as there are twelve apostles and twelve tribes of Israel (twelve is the number of fullness). To me it’s an artistic testimony of the Van Eycks’ belief in Christ as much as it is a testament to Vijd’s egotistical piety. Just like I said, the lamb is not a domineering creature in the wild. Christ says: “I am the resurrection and the life; whoever believes in me, even if he dies, will live” (John 11:25). In the New Testament, Revelation again takes up the image of the rainbow around the throne of the Lord who sits in judgement at the end of time. Saint Stephen can be recognized by the stones he is carrying in his surplice and Saint Livinus, one of the patron saints of the city of Ghent, has his tongue held in the grip of the tongs which were used to tear it out. Although Revelation refers to the elect as dressed in white robes, Van Eyck uses a free hand in his depiction. The Adoration of the Mystic Lamb is renowned as one of the greatest religious masterpieces of all time. From God the Father to the lamb and chalice, these symbols demonstrate the sacrifice and blood atonement of Christ and the clergy who administer holy sacraments. “The Ghent Altarpiece: The Truth about the Most Stolen Artwork of All Time.” The Guardian [London] 20 Dec. 2013, United Kingdon ed. The panel in question, that of the Adoration of the Mystic Lamb, is part of a 24-panel polyptych in the Cathedral of Saint Bavo in Ghent, Belgium. The van Eycks lived at a time when the early Italian Renaissance artists were paving the way for traditional Western art as we now know it. oil on panel (138 × 242 cm) — 1432 Saint Bavo Cathedral, Ghent Jan van Eyck biography. ( Log Out /  Despite hundreds of leads, the heist’s case remains open. In the New Testament we find a correlation between living waters and the Holy Spirit: “Amen, amen, I say to you, no one can enter the kingdom of God without being born of water and Spirit.” (John 3:5). The viewer's full attention is drawn to the large centre panel, in which a divine liturgy is performed around the Lamb of God, Jesus Christ, in a green landscape with a high horizon. The fountain can be compared to the river used in biblical symbolism, and in fact it carries the inscription “fluvius” (river) and not “fons” (fountain). When the back panels are closed, Vijd and Borluut are depicted at opposite ends of the bottom left and right panels. In his conversation with the Samaritan woman, Jesus points out the difference between ordinary water, like that from Jacob’s well, and the water He gives to the thirsty: “Everyone who drinks this water will be thirsty again; but whoever drinks the water I shall give will never thirst; the water I shall give will become in him a spring of water welling up to eternal life” (John 4:13-14). If this union between heaven and earth, or between man and God, were to have a colour, it would surely be that of the iridescent angels’ wings depicted in the Ghent altarpiece. This painting definitely has a lot going on in it. Collins, Neil, MA LLB. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. In presenting the figure of the Lamb, instead of Christ incarnate or the liturgical host, Van Eyck refers back to an ancient iconographic tradition. The Ghent Altarpiece: Adoration of the Mystic Lamb By same artist. One part of the painting is a lamb on the altar. To emphasize the Spirit’s vivifying powers, Van Eyck has painted a halo of light-rays radiating from the dove which spread out over the panel, touching the various groups of people. There are many biblical references to the river as a source of life: from the description of Paradise in Genesis: “A river rises in Eden to water the garden; beyond there it divides and becomes four branches.” (Genesis 2:10). The Eucharist as the presence of Christ and the participation in His mystery. The Adoration of the Mystic Lamb 1.The Eucharist as sacrifice In the Ghent altarpiece, it is the sacrificial dimension of the Eucharistic mystery that is... 2.The Eucharist as new life The Lamb on the altar is not simply a sacrificial lamb. The female saints carrying the palm of victory : detail, 4. I, too, am not Roman Catholic, but I am a Christian and can relate to the story that the artist is wishing to portray. Nazi leaders Adolph Hitler desperately wanted the magnum opus as the crowning centerpiece for his museum, while Hermann Göring wanted it for his private collection. New York: The Metropolitan Museum of Art, 2000–. In … In Van Eyck’s painting, the presence of the Lamb on the altar carries more significance than the image of a simple ostensorium (which was quite common in paintings of the time), because in itself the Lamb summarises the many dimensions of the Eucharist, as the pivotal mystery linking the Old and New Testaments and as the anticipation of eschatological universal salvation. The chalice is a symbol of this sacrament and the atonement of sin paid for by Christ’s suffering on the cross and Garden of Gethsemane. Another artist had altered the Lamb of God, a symbol for Jesus depicted at the centre of the panel. The Ghent Altarpiece: Adoration of the Mystic Lamb, detail of female saints, martyrs and confessors. Web. “Ghent Altarpiece (1425-32).” Visual Art Encyclopedia. The formal name of what has become known as the Ghent Altarpiece is the Adoration of the Mystic Lamb. Four groups approach or occupy the meadow. According to Catholic and other Christian traditions, lambs symbolize Christ as the Lamb of God. Beginning in 1425, the painting took seven years to complete. The buildings are therefore imaginary (even though two of them are recognizable: the tower of the Utrecht cathedral, to the left of the Lamb, and the dark tower of St. Nicholas’ church in Ghent, on the right in the group of buildings between the Lamb and the Virgins). 10 June 2015. The Eucharist permits the faithful to move into another time, in such a way as to have a foretaste of the eschatological joy. This new life is not an infinite period of time, but rather another dimension of human existence, in which the faithful are immersed through baptism (see Romans 6:4). The piece was commissioned by wealthy patrician Joos Vijd and his wife Lysbette Borluut. This work is linked to Revelation 5:6 As viewed when open, the panels are organised along two registers (levels), and contain depictions of hundreds of figures. Art historians considered, The Adoration of the Mystic Lamb, as “one of the cultural cornerstones of the Netherlandish Renaissance.” A year into the project, Hubert passed away so Jan took over at the invitation of Vijd. Moreover, it is well known for its innovative aspects. In the liturgy, the saints are praised for their witness and God is thanked for having provided them to intercede for the faithful. I also could help but to notice the crown at his feet, so did a little research and found the crown resembled a transition to the Lamb. Complex painting by Van Eyck brothers includes famed "Adoration of the Mystic Lamb." Surely goodness and mercy shall follow me all the days of my life”(Psalms 23:5-6). And, then, the Lamb is represented as coming and taking the book out of the hand of him that sat upon the throne; whereupon the first adoration of the Lamb takes place. Jones, Susan. It’s narrowly escaped fiery destruction and rioting Calvinists. The masterpiece was created as the center piece above the altar for the Church of Saint John, Ghent, which is now the Cathedral of Saint Bavo in Belgium. In the New Testament, the chalice returns with a double connotation, alluding both to suffering as well as to sharing and redemption: “This cup is the new covenant in my blood, which will be shed for you” (Luke 22:20). In its turn, blood has always been considered a vital element in the Bible. Another of the “Ghent Altarpiece’s” main features is the Lamb of God on the center altar that can be seen when the wings are open. Web. It was made in the early 1430s, although there’s some mystery as to by whom. 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