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Response to Suffering |
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written
by sariah / 10.22.2005 |
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| Two Michelangelo sculptures |
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Assignment |
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Michelangelo’s two sculptures, “Risen Christ” and “Moses” capture movement by their slightly twisted postures looking leftwards and similar positioning of the arms, however, their differing facial expressions, poses and dress reflect very different responses to lifetimes of suffering.
Michelangelo’s “Moses” is a study in tension. Fingers twist in odd positions through Moses’ cascading curls of beard, leading to exposed bulging arm biceps and triceps. Although he is seated, Moses’ legs seem mighty and prepared for action; his left leg bends backwards at the knee, ready to propel Moses upwards. Staring at this figure, the entire musculature seems to store potential energy for a violent burst of movement. His face adds to this buildup of tension. Framed by curled hair and two small front facing horns, his face looks wary and almost angry. In his right hand, he loosely holds the Ten Commandments in a defensive pose, as if he hopes to have the strength to protect it. His wrinkled face, sagging midsection and lengthy beard all add to the perception of Moses as old. He is sitting, as if no longer able to face some of the long-suffering challenges on Earth. And his disheveled robes add to his look of weariness, as if he no longer has the energy to attend to his attire.
The “Risen Christ” is also is gazing leftward, but his standing pose is straight, not compressed. Although Jesus also has exposed muscles which contract in response to his grasp of a cross and staff, and his arms are posed in a similar holding position to those of Moses, his fingers are more delicate and relaxed. He is standing in repose, his near nudity revealing an open attitude towards the world. His face is aware, yet, without the anger that is present in Moses. It is as if, through his youth and resurrection, Jesus has come to face the future with a tolerance and serenity of which Moses is not capable.
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