What an odd couple, indeed!īut here they are, child prodigies, to pay tribute to one of their own. We notice, at some distance from the manger, the presence of Saint Nicholas of Myra and Mozart. The artist has also added two figures which ordinarily steer clear of paupers and beasts. It puts the holy family under a thatched roof but places sheep, shepherds and camel on a lustrous landing of pure gold. There is hope that the Christ child will unseal and decipher the puzzles of life.Ĭhild Prodigies Linda d’Addario, sculptor Jane Macdonald, dress – Artists for Hestia CreationsĬhristmas lore knows no boundaries. It represents the hidden meaning of human existence, tightly wrapped and sealed. She holds an oversized scroll, rolled and of bright red color, which she is taking to the cradle. The traits of her face speak volumes of wisdom acquired in years of wear and tear.
The artist has brightened the looks of her people by dressing them in caps and gowns of enamel-like colors. These are Raku people, named after a Japanese earthenware going back to the fifteenth/sixteenth century and well-known for its rough and dark glaze. It instills lightness in the soul as suggested with the dreamy arabesque decorations that ornate some of the figures. Isn't it as if the whole figure was shrouded in mystery? Meaning some of the mystery that only God himself can unveil for us, and which we recognize as such in faith. There is more than faceless characters here. Here lies the meaning of this seemingly nondescript Christmas scene. But at all times the mystery remains intact. And, although their individual identity is not immediately evident, we intuit that each one of these personages takes part in a sacred drama. At their feet there is gold, both yellow and red. The ten figures stand tall against a solemn curtain of black-and-white drapery. Isn't this the overall impression that emerges when looking at this nativity? A fleeting glance may easily become a lasting impression. This tradition is well-known and was widely disseminated in Latin American countries.
Indeed, major episodes of the Christmas story can be “read” on each one of the figures. Subsequent development brought narratives into play when individual figures became the visual carrier of a whole story or shared in the story with other figures as suggested in our nativity set. It slowly evolved from figures decorated with floral or geometric ornaments to sculptures showing tableaus of plants, animals, and entire landscapes. The tradition of painted figures is part of a long history going back to pre-Columbian times. Jim Shore created this nativity set with painted figures for Enesco. The set reflects a new tendency in the U.S.
It remains hidden to the eye but not to the hearts of angels, animals, parents, and wise men. It remains hidden in this representation, too. Wrapped in swaddling clothes from head to toe, the Christchild’s true origin remained hidden. The representation is reminiscent of early Christian iconography. Wava Best is hiding beauty in a variety of details: the gnarled trunk of a palm tree, the pudgy hands of an infant angel, the camel’s meditative snout speaking volumes of wisdom, or the wise men’s robes strewn with intertwined floral, foliate, and geometric figures. The expressions of a face may detract from the beauty of a gesture and the elegance of a pose. The descriptive text for each was written by Father Johann Roten, S.M.īeauty is in the eye of the beholder, and not necessarily in the face of the person we see.
The following Nativities are each displayed in a unique permanent setting created by Marian Library Cr è che Collection volunteers.