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93:, although in these Renaissance paintings Christ's genitals are often covered (e.g. by a hand of Mary). Art scholars such as Steinberg also see a connection between the circumcision motif and some depictions of the Crucifixion, in which the blood escaping from the side wound runs over the loincloth, creating an artistic connection between the first and last wound. A similar level of meaning is exhibited by images of the Entombment, in which a hand of the dead Christ rests on his genitals.
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from 1515. By embedding the phallic depictions of Christ in the sorrowful
Passion story, the depictions also negate lust and sexualization at the same time. In doing so, they follow the theological moral concepts of their time and suggest chastity as a means of regaining salvation. In discussion with
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was a tendency opposite to the
Byzantine practice of depicting a sexless Jesus (with flattened abdomen covered by veils), with first examples starting around 1260, gaining popularity in the Renaissance, and tapering off in the seventeenth century. In the art of the 15th and 16th centuries in
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avoids the question of Christ's sexuality in that the erect member only occurs in children's portraits or in the suffering or already dead Christ, in the latter in a meaning level that indicates the overcoming of death. A prominent example of this is the
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particular, there are numerous examples of the genitals being the focus of depictions not only because of their position, but also because of perspective and multiple pointers, as well as the artful arrangement of a
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paintings. It can take the form of exposed display, demonstrative hand positions, (self) touch, exaggerated textile draping, etc. The term adapted the existing feature in
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is interpreted as an expression of the greatest possible self-humiliation of God assuming a mortal form, that, in words of
Steinberg was "delivered from sin and shame".
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by Ludwig Krug, with cloth draping around the supposedly erect member of Jesus. The image also shows the
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Leo
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or "display of wounds", where Christ indicates the wound in his side, as in the
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The wider circle of corresponding representations includes portraits with the
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in 1983 that refers to artistic emphasis of the genitals of Christ in
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Artistic emphasis of the genitals of Christ in
Renaissance paintings
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The
Sexuality of Christ in Renaissance Art and in Modern Oblivion.
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43:(Latin for "display of the genitals") is a term coined by
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193:"*Ostentatio Genitalium* in Renaissance Art"
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191:Dukes, Hunter (April 14, 2022).
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106:nudus nudum Christum sequi
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218:Christoph Geissmar-Brandi
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115:Art historians such as
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287:Iconography of Jesus
271:Neue Zürcher Zeitung
133:In Renaissance art,
117:Jean-Claude Schmitt
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53:iconography
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244:Literature
202:October 9,
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102:Franciscan
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112:in art.
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204:2022
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