《原畫作介紹》
將小孩都帶到我這兒來
盧卡斯‧克拉納赫二世 (德國，1515-1586)
約1540
油彩．橡木板

Suffer the Little Children to Come unto Me
Lucas CRANACH the Younger  (German，1515-1586)
1540
Oil on panel

盧卡斯‧克拉納赫二世（Lucas Cranach the Younger, 1515-1586）是德國文藝復興時期傑出畫家盧卡斯‧克拉納赫一世（Lucas Cranach the Elder, 1472-1553）的幼子，自小隨父習藝，並在聲譽日隆後接手經營其父建立起的龐大工作坊。克拉納赫一世與宗教改革運動關係匪淺，不但與其核心人物馬丁‧路德（Martin Luther, 1483-1546）互為對方子女的教父，且繪製許多闡釋新教理念的版畫；而克拉納赫二世亦在此餘蔭下成為新教文人、貴族圈中炙手可熱的藝術家。

此作描繪耶穌祝福小孩，並解釋兒童的純真信賴正是天國子民模範的場景 （〈馬可福音〉10,13-16）。「耶穌祝福小孩」在十六世紀的大肆流行與新教神學有著密切關係：新教用此典故辯護嬰兒洗禮與解釋救恩的概念──得救的條件並不在於人的知識與功德成就，而在於信者的單純接受與神的恩典施予；好比柔弱如嬰孩，亦能得到神的關愛眷顧。

畫家透過肆無忌憚玩扯耶穌頭髮與緊抓母親衣裙的孩童凸顯其純真與信賴，而耶穌低頭與嬰兒面頰相貼，以及覆手嬰兒身上給予祝福姿態，則顯露祂對小孩的親暱愛憐與神性權威。整體用色簡樸，卻不呆板。沉穩的藍、黑平衡了畫中簇擁人群與複雜構圖所帶來的騷動感，而穿插其中的紅、白則有畫龍點睛之妙。無論是耶穌髮鬚上的清亮反光、人物膚色的白皙透紅、以及反映德國當時上層階級絲絨服裝的溫潤光澤與薄紗輕透，都凸顯畫家對人物肖像與呈現優雅宮廷氛圍的熟練細緻。

Lucas Cranach the Younger (1515-1586)was the youngest son of Lucas Cranach the Elder(1472-1546), a distinguished painter of the German Renaissance, who was closely related to the Protestant Reformation. Not only was he a strong supporter of the Protestant Church, including Martin Luther, the godfather to his children, but he also assisted in advocating Protestant beliefs in many of his woodcut printings. Cranach the Younger, with his father’s connections, became one of the most popular artists in Protestant intellectual circles among the aristocrats.

This piece, known as Suffer the Little Children to Come unto Me, depicts a scene in Mark 10:13-16, in which Jesus blesses the children and explains that the simple trust possessed by children is a model quality for those who wish to enter His heavenly kingdom. This theme prevailed after the rise of the Protestant Church in the 16th century, as it was closely related to its theological manifesto. The Protestant Church also used this allusion to defend baptism of the infants and expand on the teachings of salvation, i.e., salvation was given to those who had the simple belief in God. Salvation did not reside in one’s knowledge or merits, even a fragile newborn baby could receive God’s care and patronage. The artist depicts the innocence and trust of the children by detailing babies pulling at Jesus' hair, or clutching their mothers’ clothes. In return, Jesus holds a baby close to his cheeks and extends His other hand to bless another child, revealing his loving care and divinity. The whole picture is presented in basic colors without rigidity, and the details are carefully treated. For example, the reflection of light on the beards, the pink complexion, the courtly elegance, the luster of the high-quality velvet, and the transparency of the sheer fabric, all demonstrate Cranach the Younger’s dexterous skill in the art of painting.