Hans Multscher (c.1400-1467) – Wurzach Altarpiece – The Resurrection of Christ Part 2

The composition presents a scene of dramatic upheaval and spiritual triumph. A central figure, radiating light and clad in crimson robes, dominates the visual field. He sits upon what appears to be a stone slab or tomb, his right hand raised in a gesture that could signify blessing or command. His hair is long and damp, suggesting recent emergence from water, while the wounds on his hands are subtly indicated.
Around him, the landscape is rendered with a deliberate artificiality. Stylized trees with rounded crowns frame the scene, their foliage meticulously detailed against a backdrop of rocky terrain. The ground itself is covered in a carpet of grass and scattered with discarded objects: a helmet, armor pieces, and what seems to be a broken sword. These items are positioned as if hastily abandoned during a sudden event.
Two figures occupy the lower portion of the painting. One kneels on the left, his face turned upwards towards the central figure in an expression of awe or fear. His attire suggests military status, with a helmet and elaborate cloak. To the right, another figure lies prostrate, seemingly overwhelmed by the unfolding spectacle. He is similarly dressed as a soldier, but his posture conveys submission and defeat.
The color palette is rich and vibrant, dominated by reds and greens. The crimson of Christ’s robes contrasts sharply with the cooler tones of the surrounding landscape and the soldiers garments. This contrast reinforces the figure’s divine status and sets him apart from the earthly realm.
Subtly, the scene conveys a narrative of power and transformation. The discarded armor and weaponry symbolize the futility of earthly authority in the face of divine intervention. The kneeling soldier embodies faith and reverence, while the fallen one represents the vanquishing of opposition. The overall effect is not merely a depiction of resurrection but also an assertion of spiritual dominion over physical limitations and worldly conflict. The deliberate stylization and flattened perspective are characteristic of late medieval artistic conventions, prioritizing symbolic meaning over naturalistic representation.