Transfiguration of Jesus in Christian art
The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene.
The
The subject typically does not appear in Western cycles of the Life of Christ, except for the fullest, such as Duccio's Maestà,[2] and the Western iconography can be said to have had difficulty finding a satisfactory composition that does not merely follow the supremely dramatic and confident Eastern composition, which in Orthodox fashion has remained little changed over the centuries.
Iconography
The earliest known version of the standard depiction is in an
The Gospel accounts (Matthew 17:1–9, Mark 9:2–8, Luke 9:28–36) describe the disciples as "sore afraid", but also as initially "heavy with sleep", and waking to see Jesus talking with Moses and Elijah and emitting a bright light. The disciples are usually shown in a mixture of prostrate, kneeling, or reeling poses which are dramatic and ambitious by medieval standards and give the scene much of its impact. Sometimes all appear awake, which is normal in the East, but in western depictions sometimes some or even all appear asleep; when faces are hidden, as they often are, it is not always possible to tell which is intended. Methods of depicting the bright light emitted by Jesus vary, including mandorlas, emanating rays, and giving him a gilded face, as in the Ingeborg Psalter.[5] In the East the voice of God may also be represented by light streaming from above onto Christ, while in the West, as in other scenes where the voice is heard, the Hand of God more often represents it in early scenes.[6]
The Sinai image is recognizably the same scene as found on modern Orthodox icons, with some differences: only Christ has a halo, which is still typical at this date, and the plain gold background removes the question of depicting the mountain setting which was to cause later Western artists difficulties. The shape of the apse space puts the prophets and disciples on the same ground-line, though they are easily distinguished by their different postures. But there are other early images which are less recognisable, and whose identity is disputed; this is especially the case where the disciples are omitted in small depictions; the 4th century Brescia Casket in ivory and a scene on the 5th century wooden doors of Santa Sabina in Rome may show the Transfiguration with just three figures, but, like many early small depictions of miracles of Christ, it is difficult to tell what the subject is.[7]
A different, symbolic, approach is taken in the apse mosaic of the
In more vertical depictions of the standard type the scene resolved itself into two zones of three figures: above Christ and the prophets, and below the disciples. The higher was stately, static and calm, while in the lower zone the disciples sprawl and writhe, in sleep or in terror. In Eastern depictions each prophet usually stands as secure as a mountain goat on his own little jagged peak; Christ may occupy another, or more often float in empty air between them. Sometimes all three float, or stand on a band of cloud. Western depictions show a similar range, but by the late Middle Ages, as Western artists sought more realism in their backgrounds, the mountain setting became a problem for them, sometimes leading to the upper zone being placed on a little hummock or outcrop a few feet higher than the apostles, the whole being set in an Italian valley. Two compositions by Giovanni Bellini, one in Naples and the other in the Museo Correr in Venice illustrate the rather unsatisfactory result.[6]
One solution was to have Christ and the prophets floating well above the ground, which is seen in some medieval depictions and was popular in the Renaissance and later, adopted by artists including
Raphael's last painting, "Transfiguration of Jesus", is a masterpiece that reflects his mastery of Renaissance painting techniques. However, it is also greatly influenced by the Byzantine style of art, particularly in terms of its use of color and perspective.
In Byzantine art, color was used to convey spiritual and emotional meaning. Raphael's use of color in the "Transfiguration of Jesus" reflects this tradition, as he employs vivid hues to symbolize the divine light that surrounds Christ during his transfiguration. The brilliant white of Christ's robes, the golden-yellow of his halo, and the bright blue of the sky behind him all serve to emphasize the ethereal nature of the event.
Similarly, Byzantine art favored a flattened, hieratic style of perspective that emphasized the spiritual significance of the figures depicted. Raphael employs this type of perspective to great effect. The figures in the lower half of the painting are arranged in a static, frontal manner that conveys their solemnity and importance. Meanwhile, the figures in the upper half are depicted in a more naturalistic, dynamic style that emphasizes their movement and the drama of the moment.
Raphael's "Transfiguration of Jesus" is a stunning example of the fusion of Renaissance and Byzantine styles. It showcases his technical virtuosity and his deep understanding of the spiritual and emotional power of color and perspective.
The so-called Dalmatic of Charlemagne in the Vatican, in fact a 14th or 15th century Byzantine embroidered vestment, is one of a number of depictions to include the subsidiary scenes of Christ and his disciples climbing and descending the mountain,[10] which also appear in the famous icon by Theophanes the Greek (above).
Interpretation
Most Western commentators in the
In many Eastern icons a blue and white light
The Byzantine iconography of the Transfiguration emphasized light and the manifestation of the glory of God. The introduction of the Transfiguration mandorla intended to convey the luminescence of divine glory.[13] The earliest extant Transfiguration mandorla is at Saint Catherine's Monastery and dates to the sixth century, although such mandorlas may have been depicted even before.[13] The Rabbula Gospels also show a mandorla in its Transfiguration in the late sixth century. These two types of mandorlas became the two standard depictions until the fourteenth century.[13]
Byzantine Fathers often relied on highly visual metaphors in their writings, indicating that they may have been influenced by the established iconography.
Paintings with articles
- Transfiguration (Bellini, Venice), 1450s
- Transfiguration of Christ (Bellini), c. 1480
- Transfiguration (Lotto), 1510-1512
- The Transfigured Christ, 1513, Andrea Previtali
- Transfiguration Altarpiece (Perugino), 1517
- Transfiguration (Pordenone), c. 1515-16
- Transfiguration (Raphael), 1515-20
- Transfiguration (Savoldo), c. 1530
- Transfiguration (Rubens), 1604-05
See also
- Ascension of Jesus in Christian art
- Resurrection of Jesus in Christian art
- Depictions of Jesus
Gallery of art
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Saint Catherine's Monastery, 12th century
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Novgorod school, 15th century
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Pietro Perugino, c. 1500
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Icon in Yaroslavl, Russia, 1516
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Lodovico Carracci, 1594
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17th century icon, Bucharest
Notes
- ^ Schiller, I, 146 (not mentioning 1456)
- National Gallery, London, National Gallery, as the only painting of the subject in the gallery, an indication of its rarity in Western art.
- ISBN 0571111548(US: Cambridge UP, 1977)
- ^ Schiller, I, 148–149
- ^ Schiller, I, 146–151
- ^ a b Schiller, I, 149–151
- ^ Schiller, I, 147. On the Brescia Casket Christ flanked by two other men stand on wavy lines that might be clouds or waves; in the latter case the scene shows something else, perhaps the Calling of Peter and Andrew
- ^ Schiller, I, 147–148
- ^ a b Schiller, I, 152
- ^ Schiller, I, 150
- ISBN 88-8265-217-3pp. 141–143
- ^ ISBN 1-879038-15-3pp. 226–227
- ^ ISBN 0-88141-295-3Chapter 2: "The Iconography of the Transfiguration" pp. 67–81
- ISBN 0-88141-295-3pp. 161–167
References
- ISBN 0-85331-270-2