Monday, October 1, 2012

Through the Eyes of a Heretic

 
Generic Madonna and Christ or Magdalene-Madonna and Child?

There are three classes of people:  those who see, those who see when they are shown, 
            those who do not see. - Leonardo Da Vinci 

Image ©  Fiona McLaren

In late August of this year, this painting of Madonna and Christ Child was unveiled and hailed-- Da Vinci's Last Commission.  Outside of a few day's worth of syndicated articles, the discovery did not elicit many commentaries, analysis or interpretations. This is probably because of the composition's weak first impression and because the painting has yet to be authenticated as painted by Leonardo's own hand. 

I must confess in the first hours of examining the composition, it looked like another generic "Madonna and Christ Child with John the Baptist," a common composition of the 16th century.  However, after re-examining the painting with fresh eyes, I was astonished by what and how much was cleverly concealed.  The façade of a Madonna dressed in her traditional attire faded away to reveal what the “master” Leonardo Da Vinci encoded and envisioned: a heretical masterpiece composed of arcane symbols, optical illusions, purposeful omissions and layered meanings to put forth his last testament.  The subject of this testament?   Mary Magdalene was the Bride of Christ and she holds their son.

This blog post is to elicit a lively discussion of my analysis and interpretation of what I consider Leonardo Da Vinci's last testamentMagdalene-Madonna and Child If you haven't read my interpretation of the composition, download my analysis here.  

In my paper, I discuss the following clues and subjects:

  1.    The Virgin Mary Façade
  2.    Christ Without Halo
  3.    Madonna with Fleur-de-lis Tattoo
  4.    The John Gesture Debate about The Lamb of God
  5.    Setting in Provence and the Golgotha Connection
  6.    Green Man
  7.    Mary Magdalene as The Lamb of God
  8.    Why John Has No Foot
  9.    The Grail Table
  10.    Arcane Symbols:  V, Widow’s Peak and X
  11.    Afterlife of Optical Illusions and Hidden Faces
  12.    Da Vinci’s Spiritual Conversion 
  13.    The Hidden Jesus and the Disembodied Hand  
As to the authenticity of the painting, I am in agreement with Fiona McLaren, the owner of the painting.  There is no doubt in my mind, none whatsoever, that this painting was put to canvas by the man history has hailed the “Renaissance Man”—Leonardo Da Vinci. 

I will look forward to your comments on the analysis of Da Vinci's Last Testament:  
http://www.ariadnegreen.com/davinci.html


Also join the discussion on facebook

P.S. Hope you will also read my latest book, available on Amazon:  Jesus Mary Joseph:  The Secret Legacy of Jesus and Mary Magdalene 


Blessings,
Ariadne Green