To chart the progress of Leonardo da Vinci through his paintings, or, more exclusively, through his paint brush, seems to have been esoterically crafted by the master himself. His paintings are his fingerprint; the only difference is his fingerprints mutate. This judicious painting is an assenting example of all da Vincis’ mechanics and crafty assemblage of color, mixing, shadow, light, and emotion. Notice the preeminent imagery when first gazed upon.

In this composition, Leonardo dresses up Christ with renaissance attire. Why exactly is this done? Well, the answer is simple: Jesus Christ is current and for all coming generations. He is part of the community attire as well as the religious; it is not in reprobate that Christ is portrayed as such; on the contrary, he becomes local to the community, not only in da Vinci’s world, but everywhere. This is idea is long engrained in the minds of Christians. Da Vinci just uses it in a masterful and confident execution. The first noticeable gestation is the right hand. The emotional level of the blessing is unnatural and tameless; it can only be that of a divine hand.

Secrets and mystery dance all over the canvas. Color, imagery, emotion, and semantics all perform their sacred and chosen parts with divine perfection and exude the human senses into the most ripen and mature of celebration and eloquence. To the ethereal adjectives of color and mystery of the image and to the mystical pall of ebony in the background, complete the Christ figure with encapsulating and deliciously profound promise and salvation for all.

 

 

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