Personal Statement# 9

The Brigham Young University Museum of Art features magnificent works of art from around the world, highlighting artists new and old in an effort to showcase the beauty of the artistic experience. One particular exhibit titled To Magnify the Lord: Six Centuries of Art and Devotion contains over 75 paintings, all with the mission to “celebrate the Lord through representations of His life and mission, as well as feature other exemplars of Christian faithfulness such as saints and prophets, whose examples and teachings directed the faithful towards Christ” (To Magnify).

My impression of this event was that it fully achieved the goal of honoring the Lord Jesus Christ through the various depictions of his life, teachings, and associates. A deep, reverent emotion permeated the exhibit as the onlookers pondered and were brought closer to Christ. One painting from 1856 caught my attention, a piece titled The Wise and Foolish Virgin by Julius Rotermund. The aspect of the event that I will focus on is what this painting teaches us about being ready to greet the Lord.

One unique yet important theme that I would like to explore is the theme of preparedness shown in this painting. More specifically, I will examine the symbols and lines used in association with the two virgins to show how Rotermund depicts the prepared and the unprepared. I chose this focus because I believe that theme to be the most imperative to the parable, and the elements used in the painting are truly beautiful. For some background on the parable itself, a group of ten virgins, who represent mankind, are waiting for the arrival of the bridegroom, who represents Christ. All ten of the virgins have lamps in which they are supposed to keep oil, so that when the bridegroom arrives they are able to follow him and participate in the marriage. However, when the bridegroom arrives, five of the ten virgins have not kept their oil lamps trimmed and must go buy some. As they are gone, their chance to follow the bridegroom is missed and they are not allowed into the marriage.

Rotermund uses many religious symbols in this painting, however I will only discuss the symbols that directly identify the prepared and unprepared virgin. The first and most obvious symbol are the lamps themselves, around which the whole parable revolves. The virgin on the left holds her lamp high as a symbol for our divine potential to be saved. Emerging from the spout one can see a small flame, indicating that the lamp is filled with oil. This image alone is filled with deeper meaning, with the oil being symbolic of our testimony and good works, all compiling into our personal worthiness and readiness to greet Christ when he comes. The single flame is a representation of the light of Christ, as well as an indicator of eternal life. The last symbol found on the virgin on the left is the laurel wreath crown found on her head. These laurel wreaths are “…a symbol of eternal glory, of special achievement, success, and triumph” (Laurel). This indicates that she has accomplished something of value, even of eternal value, and has been crowned victor. All of these symbols found on the virgin on the left identify her to be the prepared virgin, who kept her oil lamp trimmed in order to greet the bridegroom.

The virgin on the right, however, displays an entirely different story. The oil lamp can still be found in her hand, however it is hanging dejectedly by her side. It is missing the ornate cap found on the prepared virgin’s lamp, and is obviously void of any oil or flame. With those essential parts missing, this is undeniably an allusion to the unprepared virgin not having the faith or testimony necessary to greet Christ at His arrival. In addition to this, the laurel wreath has fallen to her feet and has been replaced by a gold band in her hair. This symbolizes her defeat, and the gold band could be a representation of the materialism and worldliness that lead to her ultimate rejection.

The lines found in both sides of the image also lead to the obvious distinction between the levels of preparedness found in the two virgins. The prepared virgin found on the left has a vertical line running straight through her body, indicating nobility and confidence. The lines coming from her left forearm, right foot, and even the bending flame indicate motion towards the left side of the painting, where the bridegroom is inferred to be. Her gazing eyes are raised towards that same point, and there is light coming from that side. The lines coming from the unprepared virgin on the right lead the audience to look away from the bridegroom, with lines coming from her gaze, her left arm, and her left foot pointing to the bottom right corner of the painting. These lines, and her slouching figure, all indicate the shame she must have felt in having been discovered unready for the bridegroom.

The many symbols and lines throughout Rotermund’s piece create an insight for the audience into the powerful emotions associated with the consequences of preparedness. The virgin who was ready for the bridegroom was serene, clothed in victory for having won her spiritual battle. However, the unprepared virgin was racked with guilt and shame, and shrank away from the bridegroom knowing she was not worthy.

I loved the opportunity to study The Wise and Foolish Virgin and to understand the deeper meaning behind the objects and lines Julius Rotermund decided to include in his depiction. I was able to relate to the emotions of both virgins in different stages of my life that were displayed through the symbols. I feel as though at certain times of my life, I am able to relate to the prepared virgin because I feel like I am doing the things I need to do to fill my personal lamp with oil. When I am doing these things, I feel confident before the Lord and am able to be at peace with the trials that come into my life because I have a strong spiritual foundation. However, there are times when I slip out of those habits and forget to fill my lamp and I do feel the shame and guilt that the unprepared virgin is depicted as feeling. I do not feel ready to be in the presence of the Lord. I love the way this painting is set up, because with the two contrasting virgins next to each other, the onlooker can easily identify with one or the other. This acts almost as a self-check. Do I relate to the victorious, ready half of the virgins, or do I feel unready to join them? The way Rotermund causes deep reflection in the audience is incredible, and the symbols and lines add the element of reliability. This cultural event opened my eyes to what an aesthetic experience truly is, and showed me how even paintings from the mid-1800’s can elicit profound feelings and reflection in anyone who takes the time to understand it.