"Entry of Christ into Jerusalem"

The two raised hands on either side of the painting, the figures seated on the trees, and the masses’ expressions – signify that crowds of people are mobbing Jesus. As the Gospels state, they cried, “Hosanna! Blessed is he who comes in the name of the Lord.” In profile, in front of Jesus is a man laying down his cloak, symbolizing reverence and surrender. Behind Jesus are his apostles in an anticipated discussion of the great things that are perhaps in store for them. But our focus is caught by three principal figures placed in a diagonal.

The first figure is Peter, who points towards Jerusalem, his concerned gaze towards Jesus. This is reminiscent of the Gospel where Peter impetuously tries to stop Jesus from His Passion. Jesus’s response, as seen by his raised hand, is clear. “Get behind me, Satan!” he says. Jesus in profile sits side saddled on the donkey, which symbolizes poverty and humility. Though hailed as a King, Jesus chooses a donkey and not a white horse. Through this, he emphasizes that “My Kingdom is not of this world.” His firm grip of the bridle signifies that in every circumstance, God is in control.

But Van Dyck is not satisfied with just pictorially describing the moment. He wants to give us the complete story. And he does that through symbols. So while Christ is triumphantly entering Jerusalem, his passion and death lurk around the corner, as quite literally as seen by the bare-shouldered, stooped, crouching muscular figure. His face is towards Jesus.

He sings not “hosanna” but a song of passion. He carries not a palm frond but a branch of poppy or oak. While the poppy symbolizes death, the oak symbolizes endurance. However, a striking detail is the placement of his veined protruding feet by the donkey, signifying that ‘death’ is treading along. Take a closer look, and you will notice that his left foot has six toes. Six symbolizes imperfection or humanity in Christian art. Thus, through human temporal death, Jesus grants eternal life.

Van Dyke enlivens energy in this scene through the brilliant color palette, the muscularity of the figures, emotional intensity, dynamism, and a sense of the viewer’s involvement. He uses techniques like light and shadow effect, fluid brush texture, foreshortening, and lack of clear-cut lines to make it seem rapturous. Everything is in motion; everything seems alive. This then uplifts the human spirit and energizes the believer to engage in a triumph that even death could not conquer.