Daniel Mitsui  ~  Religious Artwork  ~  Giclee Prints  ~  Tree of Jesse



The Tree of Jesse is a visual elaboration of a prophecy of Isaiah: And there shall come forth a rod out of the root of Jesse, and a flower shall rise up out of his root, applied to the genealogy of Jesus Christ.

Its major figures are (from the top of the image) Jesus Christ, the Blessed Virgin Mary and David, all sitting on branches of the tree; and the sleeping Jesse, from whose body its trunk emerges. Seven doves representing the Seven Gifts of the Holy Ghost surround Christ, in reference to Isaiah’s following words: And the spirit of the Lord shall rest upon him: the spirit of wisdom and of understanding, the spirit of counsel and of fortitude, the spirit of knowledge and of godliness. And he shall be filled with the spirit of the fear of the Lord.

The genealogy of Jesus Christ, as given in the Gospel according to St. Matthew, lists forty men from Abraham to St. Joseph, divided into three groups of fourteen (evenly, if David is included in both the first and second divisions and Josiah in both the second and third).

Between the major figures in the central column I placed small scenes in quatrefoils that indicate the start, division and end of the list. Abraham and Isaac are the first names, so I drew the Sacrifice of Isaac, which the Fathers of the Church identified as a prefigurement of the Crucifixion of Christ. The starry sky in the scene refers to God’s promise to Abraham: Because thou hast done this thing, and hast not spared thy only-begotten son for my sake, I will bless thee, and I will multiply thy seed as the stars of heaven.

The Transmigration into Babylon (which is the event separating the second and third divisions) appears in the quatrefoil above David. Specifically, I illustrated Zedekiah, King of Judah, blinded and chained. This seemed to me the best representation of the royal lineage taken into exile in Babylon (even though Zedekiah’s name is skipped in St. Matthew’s list).

Because the list ends with St. Joseph, I drew his espousal to the Blessed Virgin Mary as a way to connect the genealogy more securely to Mary and Christ. The scene follows traditional accounts of the event, with Joseph holding a flowering staff (that here resembles the flowering Tree of Jesse). One of the doves representing the Seven Gifts I drew in flight, above the quatrefoil to suggest also the dove that landed on Joseph’s staff to signify his election by God to be Mary’s spouse.

Fitting all of the ancestors into one composition was a challenge. Late medieval paintings that have them perched haphazardly on the branches of the tree always seemed somewhat comical to me, whereas more orderly depictions from the twelfth and thirteenth centuries reduced the tree to a stylized, almost geometric pattern. I wanted the tree instead to resemble a living thing.

My solution was to create a framework of Gothic tracery in which the figures could stand in an orderly manner, and then to weave the branches of the tree through it, like a plant climbing a trellis.

The tree is an Almond tree, chosen for its connection to the flowering rod of Aaron (a prefigurement of the virginal conception and birth of Jesus Christ) and for symbolism that I found in the poetry of Adam of St. Victor (here translated by Digby S. Wrangham):

In the flower, leaf, nut, and shower
Mystic emblems of the power
Of the Saviour’s love are met.
Leaf Christ is, by shelter spreading;
Flower, by sweetness; nut, by feeding;
Dew, by grace with heaven’s dew wet.
On the nut still let us ponder;
For, if a full light brought under,
’Tis the mystic type of light.
As it three in one appeareth,
So three gifts too it conferreth;
Unction, food, effulgence bright.

Christ the nut, its hull His passion,
Closing round his human fashion,
And His bony frame its shell,
The incarnate Deity
And Christ’s tender sympathy
In the kernel mark ye well.

To indicate the fulfillment of Isaiah’s prophecy over time, the Tree emerges barren. It passes through the body of David in reference to Nathan’s prophecy: And when thy days shall be fulfilled, and thou shalt sleep with thy fathers, I will raise up thy seed after thee, which shall proceed out of thy bowels, and I will establish his kingdom.

As the tree reaches Mary, it begins to sprout leaves and flowers; when it reaches Christ, almonds appear.

The same progression is indicated by the colors surrounding the figures in the central column; at the bottom the sky is dark; then a medium blue; then (at Mary) the light blue of a daytime sky; then (at Christ) gold, like the light of the sun itself.

Since the Tree of Jesse first became popular in Christian iconography in the twelfth century, it has been common for artists to depict prophets surrounding the patriarchs. The selection varies, but many Trees of Jesse include twelve prophets mentioned in a sermon attributed to St. Augustine that inspired a popular liturgical drama (performed at Matins on Christmas eve). These are the prophets I have depicted; their prophecies I wrote in a tall blackletter script.

They are Isaiah, Jeremiah, Daniel, Moses, David, Habakuk, Simeon, Elizabeth, John the Baptist, and then - because the sermon addresses pagans as well as Jews - three Gentile prophets: Virgil (whose fourth Eclogue is quoted), Nebuchadnezzar (who saw the Son of God in the furnace), and the Eritrean Sibyl.

The Church Fathers associated the New Testament with the clear light of the sun, and the Old Testament with the uncertain light of the moon and stars. Christ, as the Sun of Justice, here is surrounded by gold and holds the earth in His hand.

The Virgin Mary’s special place between the two testaments is indicated by her having a golden (solar) halo, and the moon beneath her feet; this refers also to the Woman of the Apocalypse, traditionally identified as Mary.

To the men and women of the Old Testament (any who died before the Resurrection and thus descended to Limbo), I gave silver (lunar) haloes; these are crescents except for those who encountered Christ (the sun) face to face; Joseph, Simeon, Elizabeth and John the Baptist have full-moon haloes, as does Moses, who was present at the Transfiguration. The Jewish patriarchs, righteous kings and prophets have crescent haloes to the right (like a waxing moon) whereas the Gentile prophets have theirs to the left; I consider the revelation to the Gentiles in the time of the Old Testament to be analogous to the far side of the Moon; presumably there, but hidden from our sight.

The wicked kings of Judah I drew with candles in their hands, referring to God’s preservation of the royal line of Judah, that there may remain a lamp for my servant David before me always in Jerusalem. To King Solomon,I have given the benefit of doubt; a tradition of venerating him among the righteous patriarchs (in the Byzantine liturgy especially) made me think that his final repentance may be presumed. Nebuchadnezzar appears as a villainous in the Holy Scriptures (including the transmigration depicted here), but the Book of Daniel tells that after his bout of ferality, he became a worshipper of the one true God. Thus I placed a crescent moon halo behind his head in both places that he appears.

Medium: Drawing, color ink on paper with gold and palladium leaf
Dimensions: 12" × 16"
Year: 2017

The original drawing was made on private commission.

An open-edition giclée print of this drawing is available for $180. You may use the button below to pay via PayPal, debit card or credit card. Be sure to confirm the shipping address.

Price including shipping:

See this page for additional ordering instructions and general information. If you want to pay via a check or money order, please e-mail me at danielmitsuiartist at gmail dot com.

all works copyright Daniel Mitsui / danielmitsuiartist at gmail dot com

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牨晥献慥捲⡨戠潬正摥潄慭湩孳椠崠⤠㸠‽‰਩††††††††੻††††††††††汦条㴠琠畲㭥 †††††††素 †††††素 †††††爠瑥牵汦条਻††††੽ †††瘠牡朠瑥敍慴潃瑮湥⁴‽畦据楴湯
敭慴慎敭⤠ †††笠 †††††瘠牡洠瑥獡㴠搠捯浵湥⹴敧䕴敬敭瑮䉳呹条慎敭✨敭慴⤧਻††††††潦⁲椨〽※㱩敭慴⹳敬杮桴※⭩⤫ †††††笠ਠ††††††††晩
㴽洠瑥乡浡⁥਩††††††††⁻ †††††††††爠瑥牵敭慴孳嵩朮瑥瑁牴扩瑵⡥挢湯整瑮⤢※ †††††††素ਠ††††††੽††††††敲畴湲映污敳਻††††੽†††† †††瘠牡朠瑥潃浭湥乴摯獥㴠映湵瑣潩⡮敲敧偸瑡整湲਩††††੻††††††慶⁲潮敤⁳‽絻਻††††††慶⁲潮敤䅳㴠嬠㭝 †††††瘠牡瀠敲敦牲摥潎敤䱳獩⁴‽❛❡‬挧Ⱗ✠❢㭝 †††ਠ††††††昨湵瑣潩敧乴摯獥桔瑡慈敶潃浭湥獴渨‬慰瑴牥⥮ †††††笠 †††††††椠⁦渨栮獡桃汩乤摯獥⤨਩††††††††੻††††††††††晩⠠⹮慴乧浡⁥㴽‽䤧剆䵁❅਩††††††††††੻††††††††††††敲畴湲映污敳਻††††††††††੽††††††††††潦⁲瘨牡椠㴠〠※⁩‼⹮档汩乤摯獥氮湥瑧㭨椠⬫਩††††††††††੻††††††††††††晩⠠渨挮楨摬潎敤孳嵩渮摯呥灹⁥㴽‽⤸☠…瀨瑡整湲琮獥⡴⹮档汩乤摯獥楛⹝潮敤慖畬⥥⤩ †††††††††††笠 †††††††††††††瘠牡愠敲乡浡⁥‽慰瑴牥⹮硥捥渨挮楨摬潎敤孳嵩渮摯噥污敵嬩崱਻††††††††††††††潮敤孳牡慥慎敭⁝‽㭮 †††††††††††素 †††††††††††攠獬⁥晩⠠⹮档汩乤摯獥楛⹝潮敤祔数㴠㴽ㄠ਩††††††††††††੻††††††††††††††敧乴摯獥桔瑡慈敶潃浭湥獴渨挮楨摬潎敤孳嵩‬慰瑴牥⥮਻††††††††††††੽††††††††††੽††††††††੽††††††⡽潤畣敭瑮戮摯ⱹ爠来硥慐瑴牥⥮㬩ਊ††††††潦⁲瘨牡椠椠牰晥牥敲乤摯獥楌瑳਩††††††੻††††††††晩⠠潮敤孳牰晥牥敲乤摯獥楌瑳楛嵝਩††††††††੻††††††††††晩
獩牔汥楬⁸☦渠摯獥灛敲敦牲摥潎敤䱳獩孴嵩⹝慰敲瑮潎敤瀮牡湥乴摯⹥慰敲瑮潎敤瀮牡湥乴摯⁥਩††††††††††੻††††††††††††潮敤䅳瀮獵⡨潮敤孳牰晥牥敲乤摯獥楌瑳楛嵝瀮牡湥乴摯⹥慰敲瑮潎敤瀮牡湥乴摯⹥慰敲瑮潎敤㬩 †††††††††素 †††††††††攠獬੥††††††††††੻††††††††††††潮敤䅳瀮獵⡨渠摯獥灛敲敦牲摥潎敤䱳獩孴嵩⁝㬩 †††††††††素 †††††††素 †††††素 †††††爠瑥牵潮敤䅳਻††††੽†††† †††ਠ††††慶⁲牰灯牥潎敤㴠渠汵㭬 †††瘠牡愠敲乡摯獥㴠朠瑥潃浭湥乴摯獥
帧牡慥吠灹㵥愢敲彡尨睜⤫✢⤠⤠਻ †††映牯⠠慶⁲⁩‽㬰椠㰠愠敲乡摯獥氮湥瑧㭨椠⬫਩††††੻††††††慶⁲⁡‽慰獲䥥瑮木瑥潃灭瑵摥瑓汹⡥牡慥潎敤孳嵩⸩楷瑤⥨਻††††††晩⠠愨㸠‽〳⤰☠…愨㰠‽〴⤰਩††††††੻††††††††牰灯牥潎敤㴠愠敲乡摯獥楛㭝 †††††††戠敲歡਻††††††੽††††੽ਊ††††慶⁲牰灯牥祴慎敭㴠朠瑥敍慴潃瑮湥⡴瀢潲数瑲≹
਩††††੻††††††⹥牳⁣‽⼧摡⽭摡椯橮捥䅴⹤晩慲敭栮浴❬਻††††††牰灯牥潎敤椮獮牥䉴晥牯⡥ⱥ瀠潲数乲摯⹥楦獲䍴楨摬㬩 †††素 †††攠獬⁥晩
牰灯牥潎敤⤠⤠⼠ 汓灡琠敨愠⁤癥湥桴畯桧⁴桴牥⁥獩渠污捯瑡摥猠潬ੴ††††੻††††††⹥牳⁣‽⼧摡⽭摡椯橮捥䅴⹤晩慲敭栮浴❬਻††††††⹥瑳汹⹥獣䙳潬瑡㴠✠潮敮㬧 †††††瘠牡挠楤⁶‽潤畣敭瑮挮敲瑡䕥敬敭瑮✨楤❶㬩 †††††挠楤⹶瑳汹⁥‽眢摩桴㌺〰硰活牡楧㩮〱硰愠瑵㭯㬢 †††††挠楤⹶灡数摮桃汩⡤攠⤠਻††††††⹢湩敳瑲敂潦敲挨楤ⱶ戠氮獡䍴楨摬㬩 †††素 †††攠獬⁥晩
椡䉳潬敫䉤䑹浯楡⡮氠捯瑡潩⹮牨晥⤠⤠ †††笠 †††††瘠牡椠橮⁆‽潤畣敭瑮挮敲瑡䕥敬敭瑮✨晩慲敭⤧਻††††††湩䙪献祴敬戮牯敤⁲‽〧㬧 †††††椠橮⹆瑳汹⹥慭杲湩㴠〠਻††††††湩䙪献祴敬搮獩汰祡㴠✠汢捯❫਻††††††湩䙪献祴敬挮獳汆慯⁴‽渧湯❥਻††††††湩䙪献祴敬栮楥桧⁴‽㈧㐵硰㬧 †††††椠橮⹆瑳汹⹥癯牥汦睯㴠✠楨摤湥㬧 †††††椠橮⹆瑳汹⹥慰摤湩⁧‽㬰 †††††椠橮⹆瑳汹⹥楷瑤⁨‽㌧〰硰㬧 †††††椠橮⹆牳⁣‽⼧摡⽭摡椯橮捥䅴⹤晩慲敭栮浴❬਻ †††††椠⡦戠☠…

湩䙪⤠਻††††††††⹢湩敳瑲敂潦敲挨楤ⱶ戠氮獡䍴楨摬㬩 †††††素ਠ††††੽†⡽搠捯浵湥⹴獩牔汥楬⁸⤩਻੽㰊猯牣灩㹴ਊ搼癩椠㵤琢形潣瑮楡敮≲猠祴敬∽慢正牧畯摮⌺䙄䍄䙃※潢摲牥戭瑯潴㩭瀱⁸潳楬⁤㌣㌹㌹㬹瀠獯瑩潩㩮敲慬楴敶※⵺湩敤㩸㤹㤹㤹㤹ℹ浩潰瑲湡≴ਾℼⴭ潦浲渠浡㵥猢慥捲≨漠卮扵業㵴爢瑥牵敳牡档瑩⤨•摩✽敨摡牥獟慥捲❨㸠㰊湩異⁴祴数∽整瑸•汰捡桥汯敤㵲匢慥捲≨猠穩㵥〳渠浡㵥猢慥捲㉨•慶畬㵥∢ਾ椼灮瑵琠灹㵥戢瑵潴≮瘠污敵∽潇∡漠䍮楬正∽敳牡档瑩⤨㸢㰊是牯㹭㰊瑳汹㹥昊牯⍭敨摡牥獟慥捲⁨੻††楷瑤㩨㤠㘱硰਻††慭杲湩›‰畡潴㠠硰਻††潰楳楴湯›敲慬楴敶਻੽ਊ潦浲栣慥敤彲敳牡档椠灮瑵笠 †栠楥桧㩴㐠瀰㭸 †映湯⵴楳敺›㐱硰਻††楬敮栭楥桧㩴㐠瀰㭸 †瀠摡楤杮›‰瀸㭸 †戠硯猭穩湩㩧戠牯敤⵲潢㭸 †戠捡杫潲湵㩤⌠㑆㉆㥅਻††潢摲牥›瀱⁸潳楬⁤䈣䉂䈸㬸 †琠慲獮瑩潩㩮戠捡杫潲湵ⵤ潣潬⁲〳洰⁳慥敳漭瑵ਬ††††††††潣潬⁲〳洰⁳慥敳਻੽昊牯⍭敨摡牥獟慥捲⁨湩異孴祴数∽整瑸崢笠 †眠摩桴›〱┰਻੽潦浲栣慥敤彲敳牡档椠灮瑵瑛灹㵥琢硥≴㩝潦畣⁳੻††潢摲牥挭汯牯›䄣䐲㔰㬴 †戠捡杫潲湵ⵤ潣潬㩲⌠晦㭦 †戠硯猭慨潤㩷〠〠硰ㄠ瀲⁸㐭硰⌠㉁い㐵਻੽ਊ昊牯⍭敨摡牥獟慥捲⁨湩異孴祴数∽畢瑴湯崢笠 †瀠獯瑩潩㩮愠獢汯瑵㭥 †琠灯›瀱㭸 †爠杩瑨›瀱㭸 †漠慰楣祴›㬱 †戠捡杫潲湵㩤⌠䙄䍄䙃਻††潣潬㩲⌠㘴㜳㐳਻††楷瑤㩨ㄠ㔲硰਻††畣獲牯›潰湩整㭲 †栠楥桧㩴㌠瀸㭸 †戠牯敤㩲渠湯㭥紊昊牯⍭敨摡牥獟慥捲⁨湩異孴祴数∽整瑸崢昺捯獵縠椠灮瑵瑛灹㵥戧瑵潴❮㩝潨敶Ⱳ昊牯⍭敨摡牥獟慥捲⁨湩異孴祴数✽畢瑴湯崧栺癯牥笠 †戠捡杫潲湵ⵤ潣潬㩲⌠㕁䕃㘵਻††潣潬㩲⌠晦㭦紊昊牯⍭敨摡牥獟慥捲⁨湩異孴祴数∽整瑸崢昺捯獵縠椠灮瑵瑛灹㵥戧瑵潴❮⁝੻††慢正牧畯摮挭汯牯›㔣䄲䑅㭆 †挠汯牯›昣晦਻੽㰊猯祴敬ਾ㰊捳楲瑰ਾ畦据楴湯猠慥捲楨⡴笩 †ਠ††⼯搠瑥牥業敮攠癮物湯敭瑮ਠ††慶⁲敳牡档敟癮ਠ††晩⠠祬潣彳摡睟睷獟牥敶⹲湩敤佸⡦⸢摰∮
੻†††猠慥捲彨湥⁶‽栧瑴㩰⼯敳牡档ㄵ瀮⹤祬潣⹳潣⽭⽡㬧 †素攠獬⁥晩⠠祬潣彳摡睟睷獟牥敶⹲湩敤佸⡦⸢慱∮
੻†††猠慥捲彨湥⁶‽栧瑴㩰⼯敳牡档ㄵ焮⹡祬潣⹳潣⽭⽡㬧 †素攠獬⁥੻†††猠慥捲彨湥⁶‽栧瑴㩰⼯敳牡档ㄵ氮捹獯挮浯愯✯਻††੽瘊牡猠慥捲彨整浲㴠攠据摯啥䥒潃灭湯湥⡴潤畣敭瑮献慥捲⹨敳牡档⸲慶畬⥥瘊牡猠慥捲彨牵‽敳牡档敟癮猫慥捲彨整浲਻楷摮睯漮数⡮敳牡档畟汲㬩ਊ敲畴湲映污敳紊㰊猯牣灩⵴㸭㰊瑳汹㹥 †⸠摡敃瑮牥汃獡筳慭杲湩〺愠瑵絯㰊猯祴敬ਾ搼癩椠㵤琢形摡•汣獡㵳愢䍤湥整䍲慬獳•瑳汹㵥搢獩汰祡戺潬正椡灭牯慴瑮※癯牥汦睯栺摩敤㭮眠摩桴㤺㘱硰∻ਾ愼栠敲㵦栢瑴㩰⼯摡牴捡⹫業楮瑳牥慩㕬挮浯振楬正敮⽷愿㘽㜳㤳∴琠瑩敬∽畢汩⁤潹牵漠湷眠扥楳整愠⁴牔灩摯挮浯•瑳汹㵥昢潬瑡氺晥㭴眠摩桴ㄺ㘸硰※潢摲牥〺㸢㰊浩⁧牳㵣栢瑴㩰⼯祬氮杹⹯潣⽭祬琯印瑩⽥浩条獥是敲䅥㉤樮杰•污㵴䴢歡⁥潹牵漠湷映敲⁥敷獢瑩⁥湯吠楲潰⹤潣≭猠祴敬∽潢摲牥〺※楤灳慬㩹汢捯≫⼠ਾ⼼㹡ਠ㰊楤⁶摩∽摡损湯慴湩牥•瑳汹㵥搢獩汰祡戺潬正椡灭牯慴瑮※汦慯㩴敬瑦※楷瑤㩨㈷瀸⁸㸢㰊捳楲瑰琠灹㵥琢硥⽴慪慶捳楲瑰㸢椊⁦琨灹潥⁦祬潣彳摡℠㴽∠湵敤楦敮≤☠…氢慥敤扲慯摲•湩氠捹獯慟⥤笠 搠捯浵湥⹴牷瑩⡥祬潣彳摡❛敬摡牥潢牡❤⥝਻੽⼼捳楲瑰ਾ⼼楤㹶㰊搯癩ਾ⼼楤㹶㰊捳楲瑰琠灹㵥琢硥⽴慪慶捳楲瑰㸢椊⁦琨灹潥⁦祬潣彳摡℠㴽∠湵敤楦敮≤☠…猢楬敤≲椠祬潣彳摡