Research—Bosch's 'Adoration of the Magi' (c. 1485-1500)
- Cathy Shen
- Aug 13
- 3 min read
Bosch's 'Adoration of the Magi' (c. 1485-1500), housed in Madrid's Prado Museum, is a triptych featuring grisaille outer panels depicting the Mass of Saint Gregory with liturgical scenes of saints and Christ's Passion, which serve as a visual prelude to the vibrant central panel showing the Three Magi presenting gifts to Mary and infant Jesus. The work is filled with Bosch's signature bizarre symbolism, including an Antichrist figure among the Magi's retinue, strange "pagan" gifts that represent the conversion from idolatry to Christianity, and animals like owls and lizards that symbolize evil and corruption. The triptych functions as both a traditional religious artwork and a subversive commentary on 15th-century church and society, embedding sharp critiques of religious authority and societal decay within its fantastical imagery, typical of Bosch's complex style that layers esoteric and prophetic meanings beneath the surface of conventional biblical scenes.
Symbolic Architecture and Animals
Bosch employs the Nativity stable and its animals with profound symbolic intent. The donkey, associated with materialistic Judaism and the denial of Christ according to medieval Christian tradition, is emphasized, while the faithful ox (which symbolized Gentiles recognizing Christ) is omitted. This imagery, combined with the ruined state of the stable, alludes to the decline of the old Jewish order and its supposed ignorance of the Messiah, while also referencing ancient prejudices and anti-Jewish stereotypes that Bosch leverages for dramatic effect.
The crumbling stable is populated by animals deemed diabolical or idolatrous—a lizard, an owl (often a symbol of the Devil and, in medieval bestiaries, of Jews who turn away from Christ), and an upside-down frog. The sense of decay and corruption visually aligns the scene with occult or hidden religious practices, distinguishing Bosch's approach from more conventional nativity scenes.
The Enigmatic Antichrist Figure
However, the most intriguing element of this painting is the Antichrist, who is depicted as a partially nude, pale-skinned figure with a ruddy face, standing at the entrance of the stable. He is surrounded by followers and is associated with grotesque figures and demonic elements. One of the central mysteries in Bosch's triptych is this enigmatic figure visible in the doorway behind the Magi. Scholars have debated his identity for centuries, suggesting he might be Herod, a pagan sorcerer, Antichrist, or another enemy of Christ. Some interpretations view him as the personification of the Antichrist, with details such as his festering wound and strange attire reinforcing his role as both an outsider and a secret adversary, standing at the threshold between darkness and light.
Some scholars present the view that the Anti-Christ figure in the Epiphany is a representation of the Papacy, as evidenced by his crown of thorns, which parodies the papal tiara. Bosch shows the Anti-Christ making a mockery of Christ's suffering with the padded crown of thorns so that he feels no pain. In addition, the Anti-Christ's crown is golden and ornate, overtly contrasting Christ's crown of thorns, which is humble and evokes divine suffering.
It is clear from examining Bosch's other works that he consistently displayed his criticism of the Catholic Church and its abuses of power in his paintings on multiple occasions. Right next to the Anti-Christ in the Adoration, the ass is partially visible behind the wall of the barn as well. In this scenario, the ass, or the fool, is in direct relation to a symbol of the Papacy. The ass is also seen in connection to the Papacy, where the pope has been depicted as riding a white horse into Jerusalem instead of Christ's entrance on the back of an ass.
The Magi and Their Offerings
Bosch's depiction of the Black Magus (usually Caspar) is both realistic and radical for its time, reflecting Europe's growing contact with Africa and its anxieties about otherness. The Magi, including the Black king, stand at the brink—the threshold dividing insider from outsider, light from darkness—so their roles are double-edged: they represent both the universality of Christ's message and the lingering presence of cultural and racial hostility.
Unlike other artists who depict the Magi's gifts as local luxuries, Bosch deliberately makes the gifts strange and alien, embedding them with uncanny details and references. For example, Melchior's gold appears as a sculpture of Abraham and Isaac, paralleling Christ's future crucifixion, but is decorated with frogs—a symbol linked with the devil and impurity. Other gifts are similarly indecipherable, reinforcing the idea of the Magi's pagan origins and their complex journey from idolatry to adoration.
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