The ‘Krippeleschaug’n’ – a living Tyrolean tradition – Part II
Last week we were in Hall and Tulfes to see the nativity scenes. Today we’re moving on to the nativity-scene villages of Absam and Thaur.
Our series on nativity scenes''’n continues: in the villages of Absam and Thaur, we visited the nativity scenes in both parish churches, as well as the modern nativity scene on the village square in Absam and the nativity scene in the Romedikirche in Thaur.
The nativity village of Thaur and its famous artists
Sculptor and figurine carver
The most famous nativity scene carvers from Thaur were Johann Giner the Elder and his son of the same name, Johann Giner the Younger. The most successful imitator of Giner’s figures was Johann Laimgruber, known as Mundi. Mundi worked full-time as a salt miner and devoted all his spare time to carving nativity figures. Johann Plank and Romed Riedmüller also made a name for themselves as carvers. One of the best-known local sculptors of more recent times was Master Romed Speckbacher the Elder. His son, who bore the same name, carried on the tradition of the old nativity scene carvers and the Thaur nativity scene art.
Artists specialising in nativity scenes and backdrops
Felix Zimmerling, the hermit from Thaur, is known far beyond the town’s borders. Among other things, he also designed the hill for the Absam church nativity scene. His journey to Palestine in 1852 led to the Tyrolean nativity hill and backdrops being influenced by and adapted to an Oriental style. The following artists from Thaur are particularly worthy of mention as painters of nativity scenes (backgrounds): Andrä Leitl, Pranz Pernlochner III and his son.
The nativity scenes in Thaur
As well as the wonderful nativity scenes in the parish church and the castle chapel, Thaur is home to the oldest house nativity scene still in existence in Tyrol, which can be found at the Maxenbauern. It dates from the first half of the 17th century!
Owing to the splendour of the garments and the rich embroidery, the Baroque nativity scene in the Romedi Church is considered one of the largest and most valuable church nativity scenes. The historical background to St Romed’s Church, or the Castle Church as it is also known, can be read on the page on our ‘places of power’ . The large nativity scene fills the entire chancel and, due to the considerable effort involved, is only set up every two years. In total, the nativity scene comprises around 150 figures (including animals). Some figures appear twice, such as the Holy Family: once in the Nazarene style and once in the Baroque style. The oldest Baroque figures in the nativity scene are the angels with wax heads and glass eyes dating from 1740, which originate from various convents. All other clothed figures (also featuring wax heads and glass eyes) were created by Johann Giner the Elder, Franz Pernlochner I and Johann Höpperger. At the end of the 19th century, Johann Farbmacher created an entirely new nativity hill. In 1880, the artist Franz Pernlochner painted the background for the Baroque nativity scene.
A Christmas nativity play based on an idea by Erich Steinlechner and Reverend Haider
In other years, the Romedi Church displays a Christmas nativity scene on a painted backdrop designed by Erich Steinlechner in 2010 at the right-hand side altar. Alongside the then parish priest, Paul Haider (d. 2014), Steinlechner was the driving force behind this small nativity scene, designed to vividly depict the Christmas story each year. The 40 cm tall figures were commissioned from the Heide company (Heinrich Demetz) in Gröden (South Tyrol). They consist of wooden limbs mounted on a wire frame, which were then covered with glue-soaked fabric and painted or finished. This gives the figures a very realistic appearance. Another special feature is the sheep, which are made from real sheep’s wool. Johann Staud took the time to speak to us and, in a video, shares some fascinating details about the little nativity scene:
The Romedius Church is open on Sundays and public holidays from the first Sunday in Advent until White Sunday (the Sunday after Easter) from 1.00 pm to 5.00 pm for visitors to view the nativity scenes (Lent nativity scene).
Nativity scene in Thaur parish church
The figurative elements of the nativity scene in the parish church in Thaur are largely the work of Johann Giner the Elder. Johann Laimgruber added a few figures. The current nativity scene hill was created by Johann Farbmacher, whilst the backdrop was designed by Franz Pernlochner III at the end of the 19th century. During its restoration, another landscape painting was discovered, which can be attributed to Andrä Leitl.
The Absam Nativity Village
Today in Absam, we would like to show you two nativity scenes:
Firstly, the traditional church nativity scene in Absam Basilica, and secondly, the modern village nativity scene at the parish office.
Nativity scene in the basilica
Every year, a visit to the Absam Basilica is a highlight for nativity scene enthusiasts. Fortunately, the nativity scene, comprising 70 figures, is open all week from 7.30 am to 7.30 pm. Thank you very much for this, dear people of Absam! It also allows interested visitors and connoisseurs to witness first-hand how the nativity scene changes as the events unfold.
It is rare to see nativity scenes on this scale! Secured by an alarm system and protected behind a glass barrier, the figures carved by Johannes Nepomuk Giner the Elder (1756–1833) can be admired at eye level and up close. The figures, which are up to 40 cm tall, carved from wood and set in frames, captivate visitors above all with their ‘real’ gaze: Giner fitted the figures with glass eyes, making them look very lifelike and authentic. As the saying goes, ‘Seek and ye shall find’: in the figure of a miller, one can discover an important sponsor of the nativity scene – or, as we would say today, a patron and notable benefactor from days gone by. As there were numerous millers in Absam at the time the nativity scene was created, it has not yet been possible to identify the specific individual. Giner’s angels are particularly magnificent: half-naked or bare-shouldered and in full motion, winged in the truest sense of the word and, thanks to their porcelain bodies, truly heavenly figures. Hallelujah!
Felix Zimmerling (1812–1869), a hermit from Thaur, was probably one of the first pilgrims to travel to the Holy Land. He created the Absam ‘Krippenberg’ in Baron Kripp’s ancestral hall; nowhere else would there have been enough space. No wonder, then, that the Nativity scene is set against an Oriental backdrop. It was thanks to pilgrims and travellers that the first accounts of the original site of Jesus’ birth were provided. For nativity scene connoisseurs with a keen eye, there is a fascinating detail at the edge or base… apparently, the intention was to depict the shepherds – who were originally barefoot – as less impoverished, and so black shoes were added to them at a later date. If you look closely, however, you can still see bare toes peeking out from the moss!
A special backdrop for the nativity scene
The background of the nativity scene is also noteworthy: Josef Strasser (1827–1890) from Absam, known as the ‘Maxenmaler’, is credited with creating it. Contrary to the usual depiction of a carved version, he painted the halo with God the Father and the angels directly onto the background. The Flight into Egypt is also a theme in the nativity scene’s background.
The new display cases to the left of the nativity scene, crafted in the Baroque style, are truly unique. They depict two scenes: the circumcision of Jesus and the veneration of the name of Jesus by the four continents known at the time – Europe, America, Asia and Africa (Australia had not yet been discovered): A familiar woman’s face can be recognised in the figure of Europe; none other than Maria Theresa was, so to speak, the ‘godmother’ of our continent!
The Absam church nativity scene can rightly be described as Giner’s masterpiece. Nativity scene expert Dr Josef Ringler once remarked: “A solemn gravity and a palpable piety characterise the extremely lifelike figures.” It is also Giner’s oldest nativity scene.
We would like to take this opportunity to express our sincere thanks, firstly to Waltraud Willard and also to Werner Willard from the Absam Nativity Scene Association. In our video, Werner tells us more about the Absam church nativity scene for the ‘Krippeleschaug’n’ in Absam:
Once again we come across Josef Bachlechner...
Incidentally, above the main altar of the basilica, there is (yet again!) a figure of the Infant Jesus carved by Josef Bachlechner the Elder to be admired. The woodcarver, who was active in Hall around 1900, was well known far and wide and left his “mark” everywhere.
A look at the nativity scene in Absam: The Absam village nativity scene
On Absam’s village square, a modern nativity scene by Siegfried Obleitner is on display, which is certainly captivating: the Absam-based artist has chosen a completely different approach to the story of salvation here. Created in 2007, this group of sculptures deliberately avoids sentimentality. Materials such as concrete and steel lend the nativity scene a cool elegance that puts the viewer in a contemplative mood. The Baby Jesus lies upon a cross, a foreshadowing of the divine child’s impending fate. The three wise men from the East – depicted as an astronomer, a mystic and a believer – use symbolism to offer different ways of understanding the complexity of what has taken place: for instance, a crystal ball in the hand of one of the kings offers a glimpse into the future. Gloria in excelsis Deo!
The Krippeleschaug’n continues...
After visiting the nativity scenes in Absam and Thaur, we’ll be heading to the villages of Baumkirchen, Fritzens, Volders and Wattens next week, and we can’t wait to see what nativity treasures await us there.