Circulation on waters.
At the night in bad weather the trainees of Jesus, forwarded in a boat through lake, have seen the Jesus, going to them on water. They were frightened, having accepted him for a phantom.
Jesus spoke to them at once. “Courage!” he said. “It is I. Don’t be afraid!”
Then Peter spoke up. “Lord, if it is really you, order me to come out on the water to you.”
“Come!” answered Jesus. So Peter got out of the boat and started walking on the water to Jesus.
But when he noticed the strong wind, he was afraid and started to sink down in the water. “Save me, Lord!” he cried.
At once Jesus reached out and grabbed hold of him and said, “How little faith you have! Why did you doubt?”
They both got into the boat, and the wind died down.
(Mathew, 27-32)
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Archangel Gabriel
amazes Zechariah with dumbness.
To the priest Zachariah in a temple was the Archangel Gabriel and has announced to him birth of the son, which will be named John. Zechariah has doubted, as he and his wife Elizabeth were in advanced age. For mistrust the angel amazes Zechariah with dumbness.
“But you have not believed my message, which will come true at the right time. Because you have not believed, you will be unable to speak; you will remain silent until the day my promise to you comes true.”
(Luke, 1,20)
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In 1850s he conceived another grandiose plan to paint a series of large frescos illustrating the Bible, in a palace, specially built for this purpose. In preparation to this project he painted tens of sketches in watercolour with the various scenes from the Bible.
As ever before, Ivanov felt an urge to penetrate the innermost truth of biblical legends. After studying The Life of Christ by David Friedrich Strauss, he set out to devine the human message of the biblical legend and to reveal the poetical framework of biblical texts. His series of drawings, the so-called Biblical Sketches, is remarkable for its austere character. In the scene with Zachariah, who is stricken with dumbness by a heavenly messenger, we see only two figures, but each one has a majestic aura about it. The angel's figure emanates miraculous light and that light fills the entire scene.
In The Sermon of St John the Baptist, the artist no longer adheres to the principle he followed in his . St John is shown amidst a group of people gathered close around to hear what he is saying. We find this scene more realistic than the one in .
Ivanov's biblical sketch The Appearance of Christ to Mary Magdalene is interpreted in a completely different vein than the same scene in his oil painting of 1835. Nothing is left of the former theatricality, every¬thing looks natural and more realistic. Compared to a similar drawing by the typical Nazarcne Janssen, this sketch vividly illustrates how far removed from the Nazarene canons Ivanov was. Janssen depicted Christ and Mary Magdalene in the spirit of Gothic miniatures.
Good message.
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The Archangel Gabriel had a message for a girl promised in marriage to a man named
Joseph, who was a descendant of King David.
“God has been gracious to you. You will become pregnant and give birth to a son, and you will name him Jesus. He will he great and will be called the Son of the Most High God. The Lord God will make him a king, as his ancestor David was, and he will be the king of the descendants of Jacob for ever; his kingdom will never end!”
(Luke, 1,26,29)
In the drawing Those Who Knew Christ Are Watching His Crucifixion Ivanov presents the images of people gripped with deep compassion, as a result of which the scene acquires a new humanitarian meaning.
Those Who Knew Christ Are Watching His Crucifixion.
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The plot of this water colour is taken from the Gospel according to Luke. “All those who knew Jesus personally, including the women who had followed him from Galilee, stood at a distance to watch.”
(Luke,23,49)
In the foreground the people crowd, looking through an open gate on were seen in the distance crosses with the people. To a mountain, grief, despair have captured of the participants of this drama. The main expressive means here becomes a rhythm convulsively bent, faltering lines, which turn to a visual equivalent, reflection and embodiment of tragedy experienced by the people.
