DANIEL IN THE LIONS' DEN
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DANIEL IN THE LIONS' DEN, 2007
116.5 x 116.5 cm
The Asian lion is the lion of the Bible and of the Roman arena, and is most likely the fearsome feline that surrounded Daniel when the young hero of André Durand’s picture was cast into their midst. For this reason Durand, with sensitive attention to historical detail, chose to depict Lucifer, Ruchi and Abi, the Asian lions in the London Zoo, for his picture DANIEL IN THE LIONS’ DEN. Almost four-hundred years ago, Rubens studied the lions in the Antwerp Zoo, but it is difficult to be sure what species of lion the Flemish master depicted in his impressive composition.
Peter Paul Rubens Daniel in the Lions’ Den 1615
National Gallery of Art Washington, D.C.
Durand, like Rubens in his splendid picture of the same subject, has masterfully combined realism and theatricality to produce a strong emotional impact, but none of Durand’s lions stare directly at the viewer, as they do in the Rubens. Durand has managed to draw the spectator into his picture un-menaced by the fierce predators ‘and hath shut the lions’ mouths.’ Instead, the artist invites us to partake with Daniel of the meal Habbacuc has set at his feet.
Like one of the subjects depicted in the art of the Roman catacombs, Durand’s fearless Daniel, his palms upturned in the Orans position - a custom of praying in antiquity with outstretched, raised arms, common to both Jews and Gentiles - gives thanks to God for Habbacuc’s pottage and bread. We can almost hear the young prophet praying, ‘Thou hast remembered me, O God: neither hast thou forsaken them that seek thee and love thee.’
The tale of the Jewish hero Daniel’s ordeal by lions is told in evocative detail in the Greek apocryphal addition to the canonical biblical Book of Daniel, The History of the Destruction of Bel and the Dragon.
[33] Now there was in Jewry a prophet, called Habbacuc, who had made pottage, and had broken bread in a
bowl, and was going into the field, for to bring it to the reapers.
[34] But the angel of the Lord said unto Habbacuc, Go, carry the dinner that thou hast into Babylon unto
Daniel, who is in the lions’ den.
[35] And Habbacuc said, Lord, I never saw Babylon; neither do I know where the den is.
[36] Then the angel of the Lord took him by the crown, and bare him by the hair of his head, and through
the vehemency of his spirit set him in Babylon over the den.
[37] And Habbacuc cried, saying, O Daniel, Daniel, take the dinner, which God hath sent thee.
[38] And Daniel said, Thou hast remembered me, O God: neither hast thou forsaken them that seek thee
and love thee.
[39] So Daniel arose, and did eat: and the angel of the Lord set Habbacuc in his own place again
immediately.
[40] Upon the seventh day the king went to bewail Daniel: and when he came to the den, he looked in, and
behold, Daniel was sitting.
[41] Then cried the king with a loud voice, saying, Great art Lord God of Daniel, and there is none other
beside thee.
[42] And he drew him out, and cast those that were the cause of his destruction into the den: and they were
devoured in a moment before his face.
LUCIFER, RUCHI AND ABI, THE ASIAN LIONS IN DURAND’S PICTURE
The lioness, Abi, and her mother Ruchi, are featured in Durand’s composition. Abi was born at ZSL London Zoo in January 1999. Lucifer, on whose back Daniel sits, was born on November 26th 2002 at Cotswolds Wildlife Park and Gardens, and arrived at the Zoo in 2004. Ruchi, born in an Indian zoo, arrived at the London Zoo as a cub in 1990. She died a month after Durand sketched her. The average lifespan of a lion in captivity is around twenty-years. Now Ruchi is preserved forever in Durand’s DANIEL IN THE LIONS’ DEN.
Detail of Lucifer, Abi & Ruchi, and Habbacuc’s meal, from Durand’s DANIEL IN THE LIONS' DEN
Durand has observed that Lucifer, like all Asian lions, has a smaller mane than African lions, making his ears more visible, and thick hair on his tail and elbows.
Both Lucifer and Abi have been trained using operant conditioning, a reward-training technique, to respond to certain commands that enable veterinarians to inspect them regularly, such as commands to raise their paws against the fence and open their mouths for dental inspections. This avoids the necessity to anaesthetize the animals for basic check-ups.
Captive breeding is the key to the survival of the Asian lion, a critically endangered species that used to inhabit three continents, from Greece to India. Fewer than three hundred now remain in the wild in sub-Saharan Africa. A small number of Asian lions exist in India’s Gir Forest. An additional two hundred live in zoos.
LUCIFER, ABI & RUCHI PURR FOR DEMELZA’S BRAVE CHILDREN
DANIEL IN THE LIONS’ DEN is an unique collaboration between Canadian artist, André Durand, a teenage A-level student, Daniel Weston, Demelza Hospice Care for Children (www.demelza.org) and the Zoological Society of London. In the almost life-size picture, the artist has portrayed the prophet whose name ‘Daniel’ means ‘God is my judge’, as a youthful man of God. Daniel lived out his commitment in very troubled times like our own. By his courage and faith he exemplifies some of the bravest children of all, those who are cared for by Demelza.
As Durand has said: ‘almost all the young people that inspire me to paint them have something in common. I am convinced that I have met them before in a painting. When I consider the teenage behavior of the deities and saints in mythology or the Bible, not to mention heroes and heroines, the kids in my pictures are appropriate symbols of such protagonists.’ How suitable therefore, for Durand to have represented the bravery of Daniel confronting death amongst the lions as a tribute to Demelza’s dedication and sensitivity to the uniqueness of the physical, social, intellectual, emotional, cultural and spiritual needs of every child and their family.
Idea Fine Art November 2007
