“..for a lily blossoms upon the mountains and valleys in all the ends of the earth..” Jakob Bohme – Signatura Rerum (The Signature of All Things)
Fig. 2. Der Kleine Morgen. Collection Hamburger Kunsthalle, Hamburg
“The painting consists of two separate parts, an interior and an exterior painting or “frame” that are connected to each other. The interior parting is dominated by a female figure that has often been interpreted as “Venus” or “Holy Mary”, while the child has been seen as “Eros” or “Jesus Christ”.12 Taking the exterior painting, I believe that the painting illustrates the Golden Age before the fall into matter as it is described in Jacob Böhme’s Aurora. The female figure illustrates Sophia, the divine wisdom while the child stands for the first man, the androgynous Adam. The idea of light, the fiat lux, is central to the painting. The top part is held in transparent primary colors, while the foreground already shows non-transparent features. The central axis of both the interior and the exterior picture is light and can therefore be understood as God (and his “female part” Sophia) being the central axis of all. The obvious reflection of light on the child’s body is mere a combination of internal and external light, of the sun and the divine glimpse inside the child.
The frame illustrates the fall into matter and the salvation of nature. At the bottom, the sun is darkened and two children – male and female – are fleeing from it, heading toward two other figures in the corners. Those are trapped under the roots of a plant, showing the entrapment into matter and their bodies fail to show the inner light. It is important to state here that even in this dark corner Runge does not use black, but only a very dark brown. He shows that, even in the darkest place, black (or evil) has not succeeded in taking over the world and that there is still hope for salvation.
Thus, the plant grows upwards, toward the lighter spheres and the red flower of the amaryllis bears a child, raising its arms. Its body reflects the light of the inner painting, the light of Sophia. In the top part of the frame you can see a lily and a winged child kneeling on its blossom. It has lost its sexual features and is bowing towards the top center of the exterior painting: Rays of light surrounded by small heads are reflected on a blue background. Taking the copper-print version of Der Morgen into account, which can be understood as an earlier work on the same theme, these rays symbolize God (fig. 3). In the copper-print, Runge uses the Hebrew name, while in the color version God “loses” his specific Jewish-Christian connotation and becomes a universal concept.” From http://www.theosophyforward.com/index.php/theosophy-and-the-society-in-the-public-eye/411-the-influence-of-jacob-boehmes-theosophical-ideas-on-the-farbenlehre-theory-of-colors-by-philipp-otto-runge.html?start=1
Jakob Boehme’s Aurora – Illustrated pdf file http://ia600401.us.archive.org/28/items/JacobBoehmesAurora-ElectronicText-edition/Jacob-Boehme-Aurora-electronic-text.pdfJakob BoehmeAuroraThat is theDaySpring.OrDawning of the Day in the OrientOr MorningRednessin the Rising of the SUN.That isThe Root or Mother ofPhilosophy, Astrology & Theologyfrom the true Ground.
Or a Description of Nature