#wisemen

[thegoodmorningman]

Good Morning!!! All I wanted was a little bit of your love to take to brunch today.

[artthatgivesmefeelings]

Hugo van der Goes, after (Flemish, 1440-1482) The Adoration of the Magi, late 15th century The Metropolitan Museum of Art According to Western church tradition, Melchior is often represented as a king of Persia and is usually said to have given the gift of gold to the Christ Child. Melchior was often referred to as the oldest member of the Magi. Gaspar is often represented as a king of India and is usually said to have given the gift of frankincense to the Christ Child. Balthazar is traditionally referred to as the King of Arabia or sometimes Ethiopia and is thus frequently depicted as a Middle Eastern or Black man in art. He is usually said to have given the gift of myrrh to the Christ Child.

[wildbeautifuldamned]

Vintage Glass Figural De Carlini Christmas Ornament, Kings, Wisemen Series ITALY

[tamapalace]

SERIOUSLY, 3?!

[heavenlyb0d1es]

wisemen - frank ocean

[thegreatdivorce]

Ralph Hulett. Shepherds and Wisemen. 

[empressempathidi]

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🤣😂🤣 #Classic Riley. #Boondocks . . . I needed that laugh. The #GeminiFullMoon eclipse yesterday, unveiling, working through & and radically accepting, attempting to stay calm for most of the day while my nervous system was actively ringing the panic alarm, receiving #chakra #energy #healing work done by my #tribe #leader #brother, finally releasing the energy I was resisting and being spoken into by the most grounding, passionate, and loving couple I know all while playing with my 3 favorite mini #wisemen (my nephews 8, 5, & 2) made for an exhausting, fun, frustrating, & loving experience. Today, I felt to spiritually ground the backyard patio with #prayers & #onyx as the fire crackled. My sister and I wanted to write our #fullmoon release lists & I'm still working on what I'm calling in to write, recite, and check off for the closing of this year, 2022 [#222 #numerology], and beyond. Earlier today, my youngest sister was organizing my mother's stuff while listening to and singing along with #WhitneyHouston. I felt & said how "I Believe in You & Me" is great for #mirrorwork. I got up went to the full length mirror in the foyer & yes a warrior tear built up then sucked back into my eyelids bc I did enough crying yesterday and Whitney singing #StepbyStep came on, which is also another great #keepgoing #Igotmyback mirror work song! Anyway, #happyholidays & to all a goodnight! ✌ #SaintNick #PAYWHATYOUOWE 🤣#selfcompassion #selflove #UtukSun #WeRTruetoThisNotNewtoThis @ediomi @nieshy_nykima @m_e_k04 @mytrubody_t What do y'all think of this tag line?? 🤔 Just throwing it out there! #jk #lol Don't roll your eyes. 😂 Ed, that's basically what you said today outside. https://www.instagram.com/p/CXsKF01j_YO/?utm_medium=tumblr

[lostprofile]

AN INCOMPLETE HISTORY OF MEDIEVAL ART LXVI

THE THREE MAGI IN LATE ANTIQUITY

The adoration of Christ by three wise men, or Magi, is recounted in Matthew 2: 1-7. The evangelist describes them as wise men of eastern origin, guided by the light of a star to Bethlehem, bearing gifts of frankincense, myrrh and gold for the Christ child. The identities of the Magi were gradually developed in early medieval apocryphal sources. There, the three Magi are now kings as well; their names (Melchior, Caspar, and Balthazar), ages (20, 40, and 60), and races are specified; and each hails from a specific location (Arabia, Persia and India).

As the iconography of the nave mosaic in Sant’ Apollinare Nuovo in Ravenna representing the adoration of the Magi shows, those identities had yet to be clearly established at the time of the basilica’s foundation c. AD 500. The three Magi are depicted as leading a procession of gift-bearing female virgin saints towards the Virgin and Child who are enthroned near the apse of the church. The 26 virgins are identical in physiognomy, scale, posture, costume. While the colors of the Magi’s garments vary, the figures themselves are otherwise only minimally differentiated (the different hair colors indicating the relative ages of the three kings are the work of a 19th-century restorer who relied on later images of the Magi to fill in lacunae in the original mosaic; the original hair and age did not vary in the original).

The costume of the Magi consists of a dark cloak, trousers bound at the ankles, a long-sleeved tunic and a Phrygian cap. This distinctive garb closely resembles the the costume of Dacians depicted in earlier Roman art, including the reliefs of the Column of Trajan and the statues of conquered Dacians placed in the Forum of Trajan. The incorporation of several Trajanic Dacian captive figures into the sculptural program of the Arch of Constantine reinforced the image of the Dacian costume in the mind of the public at the moment of Christianity’s official acceptance. Throughout the 4th and early 5th centuries, the Magi are consistently depicted on Christian sarcophagi in Dacian-derived barbarian costume.

The partially-bowed postures of the gift-bearing Ravenna Magi creeping towards a sacred personage recall representations of the allegorical personifications of foreign nations offering tribute to the victorious emperor. As seen in the lower registers of the 4th-century “Dogmatic” sarcophagus; of the base of the early 5th-century column of Theodosius I; and of the early 6th-century Barberini ivory, two of the suppliant nations are clad in barbarian costume (the Phrygian cap being clearly conspicuous in profile). The appropriation of this pagan and imperial ionographical formula of supplication for the representation of the Magi emphasizes the triumphal, regal nature of the enthroned Virgin and Child, which continued across the nave in the image of Christ dressed in the imperial purple.

Although early Christian representations of the three Magi are not significantly differentiated from each other, as a group they are clearly and powerfully visually differentiated from their late antique viewer defined as the Other by their barbarian costume and attitude of humble supplication. The use of the barbarian costume, however, was by no means meant to code the Magi as savage enemies opposed to the Christians of the western empire. At the time the mosaic was laid, the Dacians had been depicted for 400 years as non-threatening, submissive tributaries, testifying to imperial power over the non-Roman other. Similarly, the exotically-clad Magi represent the submission of the known world to the sacred power of the Virgin and Christ, to whom they offer tribute.

On the opposite side of the nave, a procession of male martyr saints emerges from the palace of Theodoric, the Ostrogothic king of Italy. Originally, images of the king and his courtiers were placed in the archways (they were replaced with curtains after the Ostrogothic regime was overturned). Their presence reminds us that in this period, the Magi did not function as stand-ins for contemporary rulers, as they would in the later Middle Ages and Renaissance (in Botticelli’s Adoration of the Magi of 1476, the three kings are portrayed as Cosimo, Piero, and Giovanni de’ Medici).