The Day of Judgement

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[Featured on p. 35 of IAO: Ophite Iconography.]

We have chosen for the God of the end of days to be represented with the Vultus Trifrons enthroned amidst the seraphim, for the triple face would truly fit the Gnostic concept of the demiurge, as being both wonderful and monstrous, a distorted, masculine reflection of the Trimorphic Protennoia. Such a figure could very well be read in an eschatological sense, for it could imply that the three faces of the godhead have been already revealed, a thing that could only take place from a perspective that is outside time. The thesis that linked such an iconography with Joaquin de Fiore’s theology of history, lacks showing evidence from any of De Fiore’s writings to prove its point (See: Martinez, Francisco José. “Trinidad trifacial y milenarismo Joaquinita.” Acta/Artis. Estudis d’Art Modern, 1, Barcelona: Universitat de Barcelona, 2013.). But as he proposed, three ages of the world identified with the Trinity: namely an age of the Father for antiquity, an age of the Son after the incarnation of Christ, and an age of the Holy Spirit to be manifested in the Eschaton. The three faces of God could very well fit such an apocalyptic narrative, when God would be fully revealed – the final theophany.

The enthroned deity is based after a now lost stained glass designed attributed to Albrecht Dürer (Reproduced in: Willibald Kirfel. Die Dreiköpfige Gottheit. Dummler, Bonn, 1948, plate 55, nr.160), while the disposition of the seraphim follows the Belles Heures of the Duke of Berry, in the scene of St. Gerome’s dream, fol.183v.

The passages inscribed under the following image are Hebrews 10:31, Ezekiel 37:13, and Mathew 24:36.

*Sales protocol for these original pieces will be unique in that, after a purchase is made on our website, we will personally reach out to each customer to arrange a customized shipping plan, ensuring both parties are aligned on what can and cannot be done to guarantee safe and smooth delivery of the items.

[Featured on p. 35 of IAO: Ophite Iconography.]

We have chosen for the God of the end of days to be represented with the Vultus Trifrons enthroned amidst the seraphim, for the triple face would truly fit the Gnostic concept of the demiurge, as being both wonderful and monstrous, a distorted, masculine reflection of the Trimorphic Protennoia. Such a figure could very well be read in an eschatological sense, for it could imply that the three faces of the godhead have been already revealed, a thing that could only take place from a perspective that is outside time. The thesis that linked such an iconography with Joaquin de Fiore’s theology of history, lacks showing evidence from any of De Fiore’s writings to prove its point (See: Martinez, Francisco José. “Trinidad trifacial y milenarismo Joaquinita.” Acta/Artis. Estudis d’Art Modern, 1, Barcelona: Universitat de Barcelona, 2013.). But as he proposed, three ages of the world identified with the Trinity: namely an age of the Father for antiquity, an age of the Son after the incarnation of Christ, and an age of the Holy Spirit to be manifested in the Eschaton. The three faces of God could very well fit such an apocalyptic narrative, when God would be fully revealed – the final theophany.

The enthroned deity is based after a now lost stained glass designed attributed to Albrecht Dürer (Reproduced in: Willibald Kirfel. Die Dreiköpfige Gottheit. Dummler, Bonn, 1948, plate 55, nr.160), while the disposition of the seraphim follows the Belles Heures of the Duke of Berry, in the scene of St. Gerome’s dream, fol.183v.

The passages inscribed under the following image are Hebrews 10:31, Ezekiel 37:13, and Mathew 24:36.

*Sales protocol for these original pieces will be unique in that, after a purchase is made on our website, we will personally reach out to each customer to arrange a customized shipping plan, ensuring both parties are aligned on what can and cannot be done to guarantee safe and smooth delivery of the items.

 

Original: 2019

Dimensions: 27.7 cm x 38 cm (10.9” x 15”).

Materials: All pieces are ink and watercolor on Hanhemühle bamboo paper 250mm. Seal ink is composed of cinnabar and castor oil. We strongly encourage you to keep the paper out of direct sunlight and humidity.

Condition: These original artworks may show signs of spotting and minor stains due to the humidity in Peru, as well as from being poorly archived for a period of time. These imperfections are a natural result of their history and environment. *From now on: We strongly encourage you to keep the paper out of direct sunlight and humidity.

Shipping: These artworks must be shipped rolled in sturdy boxes or tubes and will need to be unrolled and flattened before framing.

*Each original artwork comes with Certificate of Authenticity signed by the artist and the publisher.

 

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