The Entombment of Christ
The Entombment of Christ
The Entombment of Christ
The Entombment of Christ

c.1750

Material
Wood

Collection
Dom Museum Wien

Inv.Nr.
I/93

Wood
Sculpture
Baroque

On view

Query
Reproduction request
Loan request

Photo: Leni Deinhardstein, Lisa Rastl, Dom Museum Wien
Next Object >


The Entombment of Christ

The obviously fragmented Entombment scene uses realistic details and contemporary clothing to closer involve the congregation in the happings depicted.

What strikes us first is the gap in this group of wooden figures: at least a second person helping with the entombment of Christ must have been lost. Instead, a neutral prop holds Jesus in a horizontal position.
The representation renders an instant immediately after Jesus has been taken down from the cross: standing near Christ’s head, Joseph of Arimathea grabs the limp body under the arms. Originally together with Nicodemus holding the feet of the corpse, he will place the deceased in the tomb hewn in the rock that he prepared as his own final resting place. Joseph, scribe and member of the High Council, had only been a secret follower of Jesus until then.
The slim body of Jesus is undressed except for the loincloth; the individual parts of the body and the stigmata are represented in a realistic manner.

Joseph of Arimathea looks down on Jesus affectionately in silent pain. The clothes correspond to the fashion of the work’s time of creation—a clever stratagem aimed at making it easier for the believers to imagine themselves as part of the historical event. The special treatment of the surface and the realistic coloring lend the figures a very lifelike appearance. According to the liturgical calendar, religious performances were once staged around such religious objects with means of the Baroque theater. These events were intended to appeal to all senses of the religious community’s members and to deepen their faith.