The artwork, Adoration of the Magi, can be portrayed, comprehended, and viewed in many opposing styles, but the significant aspect of this narrative imagery is commonly shared within all versions. The emphasis surrounds the baby Jesus Christ who is depicted as royalty and one with high power, but this representation is debatable. The purpose of this essay is to compare and contrast two reproductions of the Adoration of the Magi, and here one will recognize similar and opposing aspects that emphasize its uniqueness.
In the Basilica of Santa Maria Maggiore in Rome, an image of the Adoration of the Magi was reproduced in AD 432-440 on the arch above the altar. This painting is just one of many cyclic narratives painted. This version reveals a busy narrative pictorial that depicts natural and supernatural forms with the focus on the birth of the young Jesus Christ. This painting is divided chronologically in two stages with the upper and lower half sectioned.
The upper portion occurs chronologically first, and emphasizes Mary sitting on a throne with angels guarding her side. The dove above her is an emblem as a sign of peace and the angel flying above is probably the archangel Gabriel, telling Mary of her soon- to- be pregnancy by the Lord. Also Joseph, her husband, appears on her far right. Another structure to her right is probably her home or the stable where she will bear the young Jesus Christ. This structure is detailed with geometric shapes, which appears to stand out and catch the viewer’s eye. The human- like figures are frontal with slanting standing positions. In addition, it seems like they are discussing the coming of the baby Lord, Mary will soon bare, and the angels seem to share this information with Joseph. This scene represents how the coming of the Lord is spread throughout the Kingdom.
The lower portion emphasizes the young Jesus himself, depicted on a royal throne as angels guard and watch over him. This in itself reveals Jesus as heavenly and shows he is the chosen one by God, as he shines in his throne with a golden-like embrace around his head. The painting also shows three Wisemen representing their gifts to Christ, because they heard the news of the coming Lord. Due to the help of the guiding star they were able to find the Magi. The women on Jesus’ right side is presumably his mother, the Virgin Mary, and his father, Joseph, stands to his far right not as visible in the painting. Another figure that appears to be in the imagery resembles John the Baptist, but he is not shown in the upper portion of the painting. In addition it looks as if Jerusalem piers in the background, which has a simple but, detailed touch .The human- like figures in the lower portion, are also slanting in a forward stance. They are in a natural position and they look as if they are discussing a debatable issue, probably the birth of Jesus Christ. The imagery centers and emphasis’ the Magi as the new coming child of the Lord.
The painting of the Adoration of the Magi as a whole is portrayed as a detail image that contains a bright color scheme, with an excessive use of white, blue, and yellow. The details of the figures are elaborate and the colors are vibrant. There is minimal space in the painting and the mood is solemn and emotionless. This image is produced as a mosaic to capture the individual colored aspects.
In the lavished Gospel manuscript, another version of the Adoration of the Magi was reproduced in AD 983 at Trier. This version reveals a simple but effective narrative depiction on the emphasis on the newborn Jesus Christ. The narrative begins with three Wisemen in the upper left hand side. They are shown in a visual depiction following the guiding star, in order to find the new born Jesus Christ. Once they find Mary and Joseph, who stands at her right side, they present the newborn baby with offering gifts by bowing down to show their respect. Jesus sits on the lap of his mother, the Virgin Mary, as they are both placed on a refined throne. The figures are in varying posing positions, but their faces are all visible. All of the figures are wearing elaborate costumes and the primary color scheme is red, white, and blue. There is vast space in the image and another unique aspect of the picture is the writings on the blank section above the Wisemen. This image is illuminated in a cycle of narratives in the Gospel manuscript and this story is just one effective aspect of Jesus’ life.
These versions of the Adoration of the Magi have many differences that contrast with each other that are not stated above. One contrasting difference consists of the angels. Angels are excessively displayed in the painting, but are not even referred to in the page of the manuscript. This might be due to the fact that the painting was in the Basilica and the angels are referred to as heavenly icons. Even though the reproduction that was in the Gospels was also holy, it was not necessary to add angels. Reasons vary and may be unknown why some artists add images and why some are excluded. More differing aspects between the two reproductions is that the painting is more descriptive, the background is more elaborate, and that the color scheme is more vivid and altering. Another major difference is the size of the images. The painting reproduction is very large and is painted above an altar whereas the other reproduction is contained in a Gospel Book which exemplifies its small size. The painting also resembles more of a narrative disposition and offers more graphic aspects. In addition the painting does look like an older reproduction, because the bottom left hand side seems to be fading, but at the same time due to the border, it looks as if the painting was staged in this manner. There are also other references that resemble this painting of the Adoration of the Magi. Angels surround Jesus in the painting as he is born, and they are also present on the day of his ascension seen as in the Rabbula Gospels. This on some level supports the holy meaning of the angel’s existence. In addition, the Gospel manuscript of the Adoration of the Magi is similar to the Virgin and the child enthroned in the Hagia Sophia. There are many similarities to these references, which show how each painting has its own comparing and contrasting images.
Even though these two reproductions are from different time periods, have different artists, and reveal different aspects they have many comparing similarities that are not discussed previously. Some similarities between the reproductions are the Wisemen, Mary and Joseph, the elaborate costumes, the border around the images, and the guiding star that leads the Wisemen to the baby Jesus. The Baby Jesus Christ is the major similarity between the two reproductions and he on the throne resembles Pontius Pilate as seen in the Purple Gospel Book. This similarity could conclude that the throne reveals power within itself.
In the reproductions of the Adoration of the Magi, the individual figures form and the work as a whole contribute to the effectiveness in displaying a message. This message is emphasized in both reproductions where the annunciation of the birth of Christ and the birth itself is centralized. The two reproductions depict images that both praise the baby Lord Jesus Christ, because he is the presumably son of the Lord God, but they both reveal this message in differing aspects.

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