The Entry Into Jerusalem Analysis

Ural School, Nevyansk, The Entry into Jerusalem, Late 18th- Early 19th Century, Oil and gold leaf on panel. In the Ural School’s portrayal of The Entry into Jerusalem on panel, we immediately look towards the focal point of the painting. There we see a man wearing red and blue drapery with an Aureole (decorated in gold leaf) around his head; the golden halo, the use of red color (symbolizing the presence of god and strength), and blue color (symbolizing good health and human beings) allows us to recognize this figure as Jesus Christ. Christ is seen wearing a red garment with a blue garment wrapped around on the outside, this is to represent that he began as God and became human while you can view his apostles wearing the opposite colors; representing that they began as humans and have come closer to God (”Icons: Symbolism In Color.” 1). Christ is shown riding on what is known to be a white donkey (could also be interpreted as a horse) entering Jerusalem. We
Iconography that had one large panel and two smaller panels that could be hinged shut like a novel were called triptych (ones with only two panels were known as diptych), they were typically used as alter pieces but could also be the size of a pendant. An example of a triptych that we went over in class was Master of Flemaille’s The Merode Altarpiece painted in oil on an oak panel. Large iconography were normally commissioned by a priest and done as murals on church walls ("Icon Art.” 1). Two examples of large mural iconography that we learned about in class would be Leonardo Da Vinci’s The Last Supper (painted with fresco on the Convent of Santa Maria delle Grazie in Milan, Italy) and The Last Judgment painted in fresco by Michelangelo (seen on the walls of the Sistine Chapel in Vatican City). Analyzing the size of this piece because it is rather small it was most likely used as an altar