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Misaim |
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written
by jwang3 / 10.20.2005 |
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| Two Michelangelo sculptures |
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Assignment |
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In comparing Michelangelo’s “Risen Christ” and “Moses,” the first word that comes to mind is: misaim. Michelangelo has misaimed in his interpretation of these two men. Why has he made the Son of God smaller in dimension, located in such an unsecured place, and undistinguished in appearance? Moreover, why are both figures, so essential to the Bible and to the Christian faith, indifferent to the symbols they are holding?
The sculpture of the Jesus located in Santa Maria Sopra Minerva lies to the left of the central apse. There is no protection around it; any person can walk up to it and even touch it. He is life-size, standing with one foot forward, and supported by His hind leg and a tall stump. The only garment upon Him is a loincloth, bronze in color and covering almost nothing. In His right arm, He holds the cross, signifying His death, and a walking stick tied with a rope, signifying His life on earth. The Christian faith is based upon the fact that God sent His Son to live a sinless life on earth for 33½ years and was then sent to the cross for the propitiation of sin. The question arises, then – why is Jesus turned away from the cross? Why is His face expressionless, blank and emotionless?
The sculpture of Moses in San Pietro in Vincoli, in contrast, is located in its own niche to the right of the central apse. Velvet ropes hold the public back by at least 5 feet and the statue is lit only by donation. Surrounded on left, right, and top by other magnificent statues and figures, it is gargantuan, reminiscent of the central figure in the Trevi Fountain. His muscles are more clearly delineated than Jesus’ and he is god-like in stature. His robes overflow and the locks of his beard run down his chest in a distinguished fashion. Sitting, he holds the two tablets upon which the Ten Commandments are written. The importance of these tablets to both Judaism and Christianity cannot be emphasized enough; inscribed on them are God’s Word to His people. Once again, the question is – why does Moses look away? Why does he share the same expressionless face as Jesus, indifferent and nonchalant?
The interpretation of these two men is entirely off. The Son of God, both human and divine, is depicted to be smaller in importance than Moses, the mortal prophet. Jesus receives no barricades, nor is he surrounded by elegant statues; Moses, on the other hand, is depicted almost as a god. Jesus is forced to stand; Moses is allowed to recline. Jesus’ matted hair sits still upon his head and he wears a loincloth, emphatically colored and minimal in effectiveness; Moses’ beard flows luxuriously down his torso and he is clothed with excess of garments. Clearly, Michelangelo has placed a greater emphasis on Moses, indicating him to be of higher magnitude than Jesus.
Even more disturbing than Michelangelo’s blasphemous portrayal of the insignificance of the Son of God, however, is his depiction of the emotions of the two men. Both men turn away from the sacred objects they hold, their eyes expressionless and their features blank. According to him, they are indifferent to these symbols of Christianity, as if their roles in Christian history have forced them to be associated with these icons, yet they could care less.
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