They show a course for Christ’s passion at the National Museum in San Carlos

He showed the various methods, as Christ’s passion for the sixteenth and seventeenth centuries was represented. This was the idea that led to the exhibition Christian Easter rituals and symbols, Which was opened yesterday at the San Carlos National Museum (MNSC).

The sample, which will remain open until May 25, includes about thirty pieces, between oils and inscriptions, of which six of the original authors, and the rest corresponds to the copies or copies that made the painters unlimited from the great European art masters.

In this regard, the museum director, Jorge Renoso Bouhlins, recalled that the MNSC group, at its origin, was not forced to generate original pieces, “but to adapt to certain types of models. These similar copies also have an important value,” because it is copying it that directed Canon in our country.

The exhibition highlights pieces like Last SupperPieter Jansz Pourbus (1569), Jesus on the crossWritten by Joseph von Keeler; A way to Calvary De giusePpe Zocchi; SteelMarcellus CofferMans; La Magdalena in the empty grave of Christ, Written by Carlos Luis Ribera and Fifi. and Virgen de Los Dolores face, From Belar de la.

For his part, Zyanya Ortega, Amina of the exhibition, explained that the idea of ​​this exhibition is to raise “not only a review of the artists who represented these religious icons in Mexico, but to extract a new look at the collection of the present from the present, and before there is what is in its present through it, there was what it was at the time when some symbols were created, as there were some symbols that were created in that.

The sample has three moments. The first part of the last Jesus’ dinner, when he tells his messengers that this will be the last time everyone is together, because one of them will help him, so he will be caught and die.

In this representation, which Peter Yansz Bourbus embodies, Jesus wakes up and washed his feet to his messengers, “which shows that this is a sacrifice, service and a moment of humility and love towards the neighbor,” said the Coordinator.

Here a large recognized formula is displayed as a copy entitled Christ stripped of his clothesThat an unidentified author be repeated and repeated by Jose de Ribera, SpanishWhich explains the technical exchanges between Mexico and Spain.

At a second moment, the coordinator explained, the exhibition focuses on the representation of the Virgin Mary in the last days of Jesus, who, in Mexico, was something that also pays attention during the nineteenth century, as shown by the Belar de Laja oil.

“The painful is that the excitement that relates to the suffering of the Virgin Mary throughout the life of Christ, which begins when Simon declares that her new born son will sacrifice in favor of humanity, even when they are forced to flee Bethlehem because Herod orders the killing of children, or when Jesus is lost in the temple, and his last pain moves when they stand to Jesus, they wander.

Finally, the exhibition focuses on a brief sample of the images of the twentieth century, which shows the allocation of these rituals in our country, especially with the representations that are performed in the sacred week, while it can be defined as the spiritual invasion.

He said: “The Spaniards early realized that to justify the conquest and the massacres were forced to start religion, because not only that the king (from Spain) to give his approval, but it was also necessary to obtain the approval of the Pope,” and they did this under their idea of ​​the idea of ​​this part of the world because there are people who worship people.

At that time they faced the first difficult difficulty, Ortega said: How do people who did not speak the same language preach? He concluded that “at the time they thought about using worship images, as happened in the Middle Ages until the eighteenth century, when the majority of the European population were illiterate.”