Lamentation Beneath the Cross 1632

Editor: Here we have "Lamentation Beneath the Cross," a baroque ivory relief sculpted by Adam Lenckhart in 1632. It’s incredibly detailed, even a bit theatrical, wouldn't you say? What’s your take on its power? Curator: The power hits me in waves, it's almost overwhelming, this swirl of grief and dramatic flair carved from something so inherently precious, ivory... Feels like holding a tear formed into a scene. Lenckhart somehow transforms a profoundly intimate moment into this elaborate display of sorrow and salvation. The way he layers the figures, creating a sense of depth... it pulls you right in, doesn't it? Do you notice how Christ's body almost seems to be falling out of the scene, towards us? Editor: I do, and I also see how Mary and those supporting Christ really direct you from top to bottom, as your eyes cascade down the panel. I imagine carving ivory offered a certain intimacy itself; how might the material affect his, and our, perception? Curator: Good eye! Ivory allows for incredible detail but also demands meticulous restraint – there’s a sense of preciousness and permanence inherent in the medium that subtly elevates the work’s sacred narrative, but that narrative then comes to challenge that restraint by making one engage with very earthly, tangible themes like mourning and bodily pain. He captures human emotion that you would think wouldn’t fit into something so composed, and, dare I say, fragile? It almost seems counterintuitive, in a beautiful way. The question then becomes - does the frailty of the sculpture elevate its precious contents? Editor: Thinking about the physical act of carving amplifies the themes... this level of care underscores the weight of the moment, like a devotional act in itself! Thank you so much. Curator: It’s been my pleasure. Every conversation reveals another facet, another delicate turn in this astonishing work.