Ascension of Jesus in Christian art

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The Ascension, by Dosso Dossi, 16th century. Many Ascension scenes have an upper (Heavenly) and a lower (earthly) part.[1]

The Ascension of Jesus to Heaven as stated in the New Testament has been a frequent subject in Christian art, as well as a theme in theological writings.[2]

The earliest direct depictions of the Ascension date to around the beginnings of the 5th century, often based on the Hand of God representations and by the 6th century the iconography had been established.[3][4]

In many depictions, (and always in the

Virgin Mary is at the center of the group of Apostles (representing the Church) who look upwards towards the ascending Jesus who usually signals a blessing with his right hand.[5][6]

Development of the iconography

Ascension of Christ and Noli me tangere, c. 400, ivory, Milan or Rome, now in Munich
. See below for a similar Ascension 450 years later.

New Testament scenes that appear in the

raising of Lazarus.[3] Although versions of the subject of Christ in Majesty, which show the resurrected and ascended Christ in heaven, appear earlier, the Ascension itself is not depicted until about 400. In early scenes Christ may be shown striding up a mountain, at times the Hand of God reaching from within the clouds to assist him.[7]

An ivory plaque in Munich with such a scene is usually dated around 400, and is possibly the earliest Ascension image.[8] This was to remain the most common type in the West for several centuries, and for example is repeated in the Drogo Sacramentary some 450 years later (see gallery). The crucifixion scene is virtually unknown in the 5th century and rare until the 6th century. By the 6th century, however, more images of both the Crucifixion and the Ascension began to appear, perhaps as a result of the theological discussions of the late 4th and early 5th centuries.[3]

The

Eastern Orthodox depiction.[8]

By the 6th century the iconography of the Ascension had been established and by the 9th century Ascension scenes were being depicted on domes of churches.

Chapel of the Ascension on the Mount of Olives in Jerusalem.[8] The scene may also include the Apostles, two men in white and the Virgin Mary.[7]

The Ascension of Jesus is not the only depiction of ascension and other figures, such as John the Evangelist, have been separately depicted as ascending to Heaven, following a medieval story in the Golden Legend.[1] The name of the Assumption of Mary indicates that this was a passive transit; depictions in art often show her being carried up on a cloud by angels.

Composition and meaning

Ascension in the Rabbula Gospels, 6th century.

Ascension scenes fall naturally into two zones, an upper heavenly part and a lower earthly part. The ascending Christ may be carrying a resurrection banner or make a sign of benediction with his right hand.[1] The blessing gesture by Christ with his right hand is directed towards the earthly group below him and signifies that he is blessing the entire Church.[6] In the left hand he may be holding a Gospel or a scroll, signifying teaching and preaching.[6] From the Renaissance on the angels may not be present.

The earthly part of the Ascension depictions do not only represent those believed to have been present at the Ascension, but the entire Church.

Apostle Paul and the Virgin Mary may be present. Given Paul converted to Christianity after the Ascension, and that the New Testament does not directly place the Virgin Mary at the Ascension, these depictions represent "the Church" rather than the specific individuals.[10] In Orthodox icons the Virgin Mary is at the center and Christ can be depicted in a mandorla, supported by angels.[4] Christ may be crowned in many such depictions.[4] Given that the Gospels do not mention that the Virgin Mary was a witness to the Ascension, her presence of the Virgin Mary in 5th and 6th century depictions of the Ascension such as those in the Rabbula Gospels are an indication of the important role she played in the art of that period.[11]
This approximate composition was to become typical in the West by the Renaissance.

The

Eastern Church and icons of the Ascensions are used in the procession on the feast of the Ascension.[12]

Other scenes with a similar raised figure, that used similar compositions to the Ascension are the

Basilica of Santa Maria Novella in Florence, which dates to 1366.[13]

Gallery

Western church

Paintings and mosaic

Illuminated manuscripts

Relief depictions

  • Anglo-Saxon(?) ivory relief, 8th century
    Anglo-Saxon(?) ivory relief, 8th century
  • Unusual Anglo-Saxon or Alpine, ivory box cover, c. 750–800, with Mary and the Evangelists' symbols
    Unusual
    Evangelists' symbols
  • A rather late version of the "disappearing feet" depiction in wood relief, 1597
    A rather late version of the "disappearing feet" depiction in wood relief, 1597
  • Christ ascending alone, Aulendorf, Germany, 1711
    Christ ascending alone, Aulendorf, Germany, 1711

Eastern church

Icons and mosaic

See also

References

  1. ^
    ISBN 0-313-24658-0 pp. 26–27 [1]
  2. ISBN 1-60136-000-2 entry under Ascension.[2]
  3. ^
    ISBN 978-0-664-22416-5
    pp. 51–53
  4. ^
    ISBN 0-264-67487-1
    pp. 137–138
  5. ^
    ISBN 0-8028-2916-3
    p. 87
  6. ^
    ISBN 0-913836-77-X
    p. 197
  7. ^
    ISBN 978-0-313-29329-0
    pp. 25–26
  8. ^
    ISBN 1-57958-282-6, 978-1-57958-282-1
  9. ISBN 0-88141-098-5
    p. 61
  10. ^ Christian Iconography: a Study of its Origins by André Grabar 1968 Taylor & Francis Publishers, p. 76
  11. ISBN 978-0-495-57360-9
    pp. 244–245
  12. ^ The Spirituality of the Rites of the Holy Liturgy in the Coptic Orthodox Church by Bishop Mettaous 2000, Orthodox Church Press, pp. 133–134
  13. ^ Elly Cassee, Kees Berserik and Michael Hoyle, The Iconography of the Resurrection: A Re-Examination of the Risen Christ Hovering above the Tomb, 1984, The Burlington Magazine, Vol. 126, No. 970 (Jan., 1984), pp. 20–24 JSTOR
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