The Nativity

Nativity scenes shown in this issue are courtesy of Jeffrey O. Johnson, Juanita Sadler, Steve and Harilla Wright, Nauvoo Restoration, Inc., and the Museum of Church History and Art.

Santa Clara Pueblo Indians of New Mexico, United States, mold pottery from clay and then fire it to achieve its unique black color. A bear, her cub, and a buffalo watch while three “Wise Indians” bring gifts of corn to the Christ child. An Indian chief, sitting cross-legged and with a feather in his hand, symbolizes the sacredness of the moment.

When the candles of this German Nativity pyramid are lit, their heat turns the windmill and compels the platforms to revolve. Each piece is cut from wood and painted by hand.

This Italian Nativity scene is arranged like the opening act of an opera. The stage—fashioned after an ancient Roman ruin—and the figurines are made of rubber and painted to look realistic. The angel’s banner exuberantly declares, “Gloria!” The statuettes appear ready to burst into song to declare their joy for the miracle set before them.

In this German scene, Mary and Joseph are dressed in the traditional clothes of Bamberg, a German town near Bavaria.

From Kenya, Africa, this Nativity scene has been fired and then hand-painted with natural dyes. The clothing, typical of Kenya, is hand-woven with colored yarn. One of the Wise Men is accompanied by an elephant. A zebra kneels near the manger.

Clay statuettes from Guatemala are brushed with a white dye, creating a sense of divinity.

Characters in this scene from Bolivia are made of fabric, with cotton stuffing; they are wearing traditional Bolivian clothing. Llamas join the lambs at the manger.

Juan Hernández, a folk artist from Oaxaca, Mexico, carved and painted this Nativity scene. Mary and Joseph are wearing traditional costumes. The star held by the angel is unique to Oaxaca—no other folk artists depict the star in such a manner.

Photography by Steve Bunderson