Gustave Doré rendered the Nativity as a scene lit from within — the light emerging from the manger rather than falling upon it. Amnon’s interpretation, carved in wood at two and a half meters wide, translates that light into material: 24 karat gold applied selectively, doing the work the engraver’s untouched paper once did. The surrounding figures stay in the grain of the wood, leaning toward a centre that glows. What was a printed image becomes an object with weight, and the scene is met rather than looked at.
