We describe the football game “beautiful”? Perhaps we should rename it to become the “sacred game” or “The Holy Football”. Above all, that is the way people, at the same time, can agree on anything else in the world.
Diego Maradona, who once considered his controversial goal against England in 1986 to be a divine hand and not his hand, said: “Football is not a game or a sport. The opinion – which seems like a firm religious belief – is shared by Brazilian star Pele, his arch-rival for the title of the greatest player in the history of the game throughout the ages, once saying that “football is a religion to me. I worship the ball and treat it as God.”
This dedication and sincerity of the sacred past are not limited to Maradona and Pele.
Every four years, the World Cup, a religious ritual, inspires players to make great performances. Because of the over-enthusiasm that permeates this “sacred mystery” – which lasts a month – and still lingers after its completion, it is difficult to be surprised by the presence of religious smears and fragrances in many of the photographs taken during the World Cup.
In the following lines, we review many breathtaking images taken during this year’s championship, along with exquisite paintings from the history of art. The common element between these images and paintings is that they all share one spirit.
In the 40th minute of Colombia and Poland on June 24, Colombian Yerry Mina went up in the air to head a cross from teammate Khamis Rodriguez in the centre of the penalty area. Mina’s defensive midfielders indeed saw this scene as a moment of divine push, eventually resulting in the Colombians’ first three goals in the match.
In the 40th minute of Colombia and Poland on June 24, Colombian Yerri Mina went up in the air to head a cross from teammate Khamis Rodriguez in the centre of the penalty area. Mina’s defensive midfielders certainly saw this scene as a moment of divine push, eventually resulting in the Colombians’ first three goals in the match.
The photograph, taken by Alex Levzi, showed the moment when Mina threw the ball into his head and his body swam in the air, while all the players around him were frozen, full of feelings of dread and mouthwash, and especially disbelief, as if they had just witnessed a miracle unfolding before their eyes.
The picture in all its details called into mind a tradition of painters to glorify Christ. Among them is the Anglo-American artist John Singleton Copley, who painted a painting that did not enjoy a high-level painting depicting the first chapter of the Acts of the Apostles in the Bible, the New Testament, concerning Christ’s ascension to heaven in front of his disciples.
In this work we see the body of Christ ascending toward the dense clouds that gathered above him. This painting hardly excels, either regarding the magnificence of the artistic expression or the dramatic nature of the picture, from the image taken by Levi.
Anyone who feels sceptical about something is risked being christened by the religious Christians as “the sceptical Thomas,” in reference to Thomas, one of Christ’s messengers. However, some remember that during the Brazil-Mexico match on July 2.
This happened when Brazilian star Neymar clinched his Mexican rival Miguel Leone. When Neymar – who is accused of exaggerating his pain when his opponents make a mistake or are about to do so – falls to the ground and regrets what seemed to be a terrible pain after the docking, the Brazilian striker’s critics were sceptical about the degree of his injury, Injured from the original.
Soon some of the referee’s crew, the coaches of the two teams, and even the players themselves – shoulder to shoulder – gathered around Neymar, who was lying on the ground, anxious to determine if his pain was real or fabricated. The sight of this collection seemed to be a special reminder of a painting that showed a crowd gathering around Christ as he fell asleep when Thomas insisted that one of his fingers enter the wounds in his body to make sure they were real.
Although the dark world of Caravaggio’s “St Thomas Doubt” is perhaps far from the overgrown green rectangle of the stadium, that has embraced the face of Brazil and Mexico in the Russian city of Samara,
The wrinkles that beset the sceptics and sceptics They took Brazil’s football saviour in the picture taken by Buda Mendes, which was ideally suited to that moment and over time to become immortal and eternal.
Japan goalkeeper Eiji Kawashima has found himself on some great acrobatics to prevent Belgian defender Vincent Companie from scoring a goal in the net.
In a vivid portrait taken by Peter David Yoske, the physical situation in Kawashima’s air appears similar to a somewhat rare “portrait” of a “winged Christ” flying like a hummingbird over Saint Francis, bringing to him the same wounds that Christ suffered during Solid.
In the picture taken during the match, the two metal goal-posters behind the players may be attributed to the idea of the spiked thread of Kawashima’s body, which hinders the offensive attempt by Kompany in the air and eventually stops it. The wide-open white goal net reinforces this unexpected effect on the right side of the picture.
During the match between the British and Colombian teams on July 3 at the Spartak stadium in Moscow, the confrontations between the players turned into violent confrontations, more than once.
In one of the moments of the meeting, a tense picture of the players of the two teams clashing with the American referee Mark Giger was caught up in a series of controversial decisions.
If we focus on the look of tense judgment that appears in his eyes, standing amidst a crowd of frantic arms and accusing looks, we can recall that dark, disturbing atmosphere and the mysterious theatre scene of a canvas created by Caravaggio in the 17th century, On Christ “.
In the painting, we see the temple guards besieging Christ and tightening his grip on him, after Judas accepted him, revealing, anonymously, his identity. The picture and the painting depending on the growing influence of narrative character that stems from the presence of a mass of headscarves at the front of each.
The result, in both cases, sent a sense of “detention phobia”, in the hearts of those who see the scene, who give the feeling that they are part of this noisy fight.
During the meeting of the English and Croatian teams in one of the semi-finals of the tournament, the photographer Valery Sherifolin took a picture of a violent clash between the players of the two sides, showing their faces, and they are tingling from the clash.
The scene of these confrontational faces captures a strange, unruly, and perhaps even savage vision, similar to that of the painter Hieronymus Bush.
We have never seen so many faces in a single shot or painting that it has become a troubling and disturbing aspect since this pioneering Dutch artist – or perhaps one of his followers – has gathered the group of weary and contorted faces that have been filled with his oil painting, The name “Christ holds the Cross” dating back to the sixteenth century, painted between 1510 and 1535.
DW and TheBuzzSports
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