黑料不打烊

Christian paintings have been thriving as an art genre since the Middle Ages. This was primarily because the Bible was first transcribed in Latin, and the ability to read was only reserved for the clergy and other high-ranking members of European society. Paintings, therefore, were not just a symbol of leisure and pleasures of luxury, but also means of communicating Biblical stories to individuals who may otherwise never have been able to read them.

Judas is a figure within the Bible known as Jesus’s betrayer, but was also one of his twelve apostles. The most significant scene between Jesus and Judas was “The Kiss of Judas,” where he kisses Jesus on the cheek, revealing his identity to the crowd ready to arrest him. (Matthew 26:47-5). This moment is depicted in Giotto di Bondone’s fresco of the same name. Judas is also depicted in Leonardo da Vinci’s The Last Supper, clutching the bag of silver he was promised as payment for his betrayal (Matthew 26:14-16).

Giotto di Bondone, The Arrest of Christ (Kiss of Judas ), fresco, 1304-1306. Courtesy of Wikimedia Commons.

In every depiction of the character from Fra Angelico’s fresco of dynamism amidst the ferns, to 19th century painter James Tissot and his painting depicting the character’s grim death – Judas is seen in yellow robes. The complexities of this color are due to the historical context of the time. Yellow ochre is still an earthly pigment found in the palettes of oil painters today, recognized by its warm hue and vividity. It can be seen everywhere: from cave paintings, to landscapes, to sunlit settings. In Giotto’s Kiss of Judas, its golden quality is used to decorate Judas’s figure with luminescent robes, eye-catching against a blue background. This pigment was most likely used because it was much more affordable than gilding the piece with literal gold. Gilding is the process where metals – like gold – or thin metallic materials are placed onto the surface. This expensive process in a religious context was reserved for altarpieces or medieval manuscripts, not necessarily the frescoes or reliefs like the ones previously mentioned.

James Tissot, Judas Hangs Himself (Judas se pend), watercolor on paper, (c. 1886-1894). Courtesy of Wikimedia Commons.

While Judas was bribed with silver, gold has become synonymous with greed and betrayal within the time period. Silver was preferred as currency because of its malleability and accessibility. Gold was less practical, but most definitely a greater display of its wealth because of its eye-catching color and difficulty of transport. The luxurious metal even inspired notorious symbols like The Ring in J.R.R Tolkein’s The Lord of the Rings or the gold armband in C.S Lewis’s The Chronicles of Narnia, who looked to classical and medieval history for inspiration. In accordance with the Seven Deadly Sins, Greed (defined as the desire for wealth and status) is also assigned the color yellow. While we may associate money with the color green today, that color was actually dedicated to the sin Envy. Greed is considered a sin, naturally, because like the character Judas, money can become a motivator to put one’s selfish intentions above the welfare of others. Furthermore, any “false idol” including money, was seen as deeply offensive to the Church.

Color continues to be a significant part of communication today. However, the meanings and associations of these colors have changed slightly over time. Due to growing explorations of color and its psychological effects, certain marketing strategies have been developed to use these colors for companies’ advantage. For example, colors like blue or green (natural shades) can have a calming effect on audiences. Yellow and red can induce appetite, which is why many food companies use these colors in their advertising.

According to the Chamber of Commerce, “Marketers will likely research individual colors to see how a certain color affects a consumer, but understanding the difference between warm, cool, and neutral colors is a good place to start. Warm colors, which are red, orange, and yellow, are generally energizing and positive. Cool colors, which are green, blue, and purple, are more subtle colors and encourage consumers to feel calm, relaxed, and committed. Neutral colors, like white, black, and brown, are often sleek, modern, and professional colors to use.”

When looking at any collection of paintings, from any era, one must assume that color, design, and ideation, was – for the most part – intentional. Certain pigments were not placed down aimlessly, and the creation of the character of Judas was no different. His yellow robes made his character immediately recognizable to viewers of the work and made stories of the Bible easier to interpret and understand. This same principle can be extended to any artistic endeavor that hopes to tell a story.

Juan de Juanes, The Last Supper (Última Cena), oil on panel, c. 1562. Courtesy of Wikimedia Commons.

The very idea of Color Theory was first introduced in the 1400s. However, Leonardo da Vinci, known for his flying machines and elaborate journals, was fascinated by the science of colors. In The Last Supper, Leonardo does break the rules. Judas is not wearing yellow and is instead wearing a blue and green robe. The green sleeve to the viewer’s right of the figure immediately contrasts with the blue of the figure behind him, bringing Judas forward. Of course, this is not the only depiction of Jesus’s final meal with his disciples. In Juan de Juanes’s depiction of the scene, Judas is depicted in golden robes, like other artists’ interpretations, but is surrounded by shades of deep green, immediately standing out. So, despite these two renditions depicting the figure in different ways, the bag of silver, and Judas, are both made obvious amongst the men dining. The story is still the same.

Leonardo da Vinci, The Last Supper, fresco, c. 1495-1498. Courtesy of the Cenacolo Vinciano museum.

“Of different colors equally perfect, that will appear most excellent which is seen near its direct contrary: a pale color against red; a black upon white ... blue near yellow; green near red: because each color is more distinctly seen, when opposed to its contrary, than to any other similar to it.”

This is the very basis of the color wheel, further refined by Sir Isaac Newton’s experiments with prisms and light two centuries later. It is clear that our very understanding of color, light and shadow, etcetera is a delicate interplay of psychology, physics, and the technical skill of the painter. Minds like Leonardo were certain of this, and similar applications can be seen all throughout time, even today. When engaging with any media, whether print or on the screen, it is important to identify these patterns and see if design choices, like color, may be a result of underlying intentions. It is a curious thing that such images, especially biblical ones, have become so consistent, from the depiction of Jesus to Judas, to the Virgin Mary, they are all fairly consistent. When looking at the modern icons of today (including modern Christian art, too) there may also be familiar indicators to the audience that makes these figures recognizable and memorable. Backed by the elicited emotions of color and tone, the visual experience can be a very powerful one.

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