Creches Around the World (1)

You will find on this page a growing number of Crèche sets, all of them presented to the public in and around Dayton since 1998. They represent a fraction of the Marian Library's Crèches Collection.

Our trademark is to create a special setting for each of  the sets highlighting their special cultural, symbolic and aesthetic values. It is our goal to make  these nativity sets objects of meditation. Thus, each one of the sets presented here comes with a description. These descriptions vary according to country, artist, aesthetic and cultural expressions. For all of them we try to emphasize the appropriate religious message hoping it will lead the visitor to pondering  and meditating the mystery of the Incarnation.

 

The artifacts presented here convey a variety of interpretations of the Christmas event. Some of the sets are little monuments to artistic creativity and thus a simple statement of beauty. Others will take the visitor to faraway countries and their genius of telling the story of the Incarnation. Most of the scenes speak about human life as much as they speak of religion and God. There are allusions to life's ordinariness and mystery, and attempts to deal visually with suffering and injustice. Sometimes the story crests in a symbol pregnant with meaning, at other times the tale ends with a question mark. In all of these nativity sets the challenge of the Incarnation remains intact.

 

Humble Beauty
Itari Akayama
Japan

Japanese culture is a culture of simplicity and balance.  It imitates the harmony of nature, its silent grandeur and graceful simplicity.  Imitating nature is like imitating the art of God.  This may be the reason why everything in Japanese culture, from gardening to martial arts, is permeated with awe and reverence, reflecting the age-old wisdom that nature is not governed except by obeying her.  Similarly, this artless bisque nativity, placed in a setting of austere beauty is a welcome reminder of the Japanese philosophy of “moral geometry.”  Things spiritual and supernatural are too great and difficult for human understanding, but they may be expressed in humble awe with words and deeds of simple beauty.

ML.1118.10

Thosaganth and Rama (Bangkok Dolls)
Khunying Tongkorn Chandavimol
Thailand

In the classical dance drama of Thailand, Thosagantyh, the demon king, is defeated by Rama, the young hero. These figures in their scintillating armor are symbols of old and new, good and evil, of culture of death and culture of life. In sum, they picture human drama in the midst of which a promise of lasting peace is born. And so they all rally around new hope: the Chinese Mandarin, the prince of India, and the Thai nobleman, musician and fruit vendor; Meo man and Meo woman representing the hill tribes; the Karen man carrying firewood and the farmer woman a fruit basket. It is up to prince and princess to lead the whole group in a new dance, one of joy and peaceful victory.

ML.3480

At the Crossroads

Artist Unknown
Philippines

 

The Philippines counts a number of crèche traditions, some genuinely local (bamboo nativities), others inspired by more generic Catholic customs.  Our set takes after the latter.  Although crafted with the light and tender wood of the Balboa, the actors of this scene convey an impression of reverent stability and solid dedication to the Christ child.  Like many other representations of the Nativity, this set stands at the crossroads of several cultures.

 

ML.2650

Silhouettes
Magellan Artisan Cooperatives
India

Indian nativity sets tend to be small, painted in bright colors looking like children’s toys. Stamp nativities, painted tin or made of Palewa stone, they frequently seem to cater top trite and callow taste. Not so these metal cut out figures. The iron is not treated. The characters are left in their natural state. Rust and imperfection are part of the uniqueness of each piece. Crafter in family workshops of artisan cooperatives these 3-D figures travel incognito keeping to themselves the secret of their origin.  Sharply defined silhouettes, they convey an eerie sense of déjà vu in Egyptian or Assyrian art. The expression is one of utter resolve. The jutted chins and pointed beards of the three kings indicate eager anticipation and hurried movement. But take a look at the position of the arms of all the actors surrounding the manger. They are all stretched out imposing a forward movement to the whole body. Silhouettes, maybe, and guarded anonymously, but they both serve the real meaning of this set which is to bring gifts to the manger, maybe even the gift of self.

 

ML.1120.04

Source: campus.udayton.edu