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179:) 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
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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
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338:'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.
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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
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son to be healed. This is "the first monumental representation of Christ's
Transfiguration to be entirely free of the traditional iconographic context", though it can be said to retain and re-invent the traditional contrast between a mystical and still upper zone and a flurry of very human activity
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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. The earliest extant Transfiguration mandorla is at Saint Catherine's Monastery and dates
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which states that the disciples "beheld the Light as far as they were able to see it" signifying the varying levels of their spiritual progress. Sometimes a star is superimposed on the mandorla. The mandorla represents the "luminuous cloud" and is another symbol of the Light. The luminous cloud, a
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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
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may be used. Not all icons of Christ have mandorlas and they are usually used when some special breakthrough of divine light is represented. The mandorla thus represents the "uncreated Light" which in the transfiguration icons shines on the three disciples. During the
85:, 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.
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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, which also appear in the famous icon by
65:. In the Western church the feast is less important, and was not celebrated universally, or on a consistent date, until 1475, supposedly influenced by the arrival in Rome on AUGUST SIXTH, 1456 of the important news of the breaking of the Ottoman
300:, his last painting, is undoubtedly the most important single Western painting of the subject, although very few other artists followed him in combining the scene with the next episode in Matthew, where a father brings his
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at Saint
Catherine's Monastery – not a unique case of a theological idea appearing in icons long before it appears in writings. Between the 6th and 9th centuries the iconography of the transfiguration in the
69:, which helped it to be promoted to a universal feast, but of the second grade. Most notable Western depictions come from the next fifty years after 1475, reaching a peak in Italian painting in the 1510s.
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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
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below. The floating Christ inevitably recalled the composition of depictions of his
Resurrection and Ascension, an association which Raphael and later artists were happy to exploit for effect.
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monk who took up icon painting had to start his craft by painting the icon of the
Transfiguration, the underlying belief being that this icon is not painted so much with colors, but with the
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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
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Byzantine Fathers often relied on highly visual metaphors in their writings, indicating that they may have been influenced by the established iconography. The extensive writings of
246:. Three further lambs stand higher up, near the horizon of the garden, and looking up at the jewelled cross; these represent the three apostles who witnessed the Transfiguration.
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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
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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.
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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.
183:. 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
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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.
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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
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are less recognisable, and whose identity is disputed; this is especially the case where the disciples are omitted in small depictions; the 4th century
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242:(said to have been a disciple of Saint Peter) in a paradisal garden, who is flanked by a frieze-like procession of twelve lambs, representing the
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Similarly, Byzantine art favored a flattened, hieratic style of perspective that emphasized the spiritual significance of the figures depicted.
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and Byzantine styles. It showcases his technical virtuosity and his deep understanding of the spiritual and emotional power of color and
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considered the Transfiguration a preview of the glorified body of Christ following his Resurrection. In earlier times, every
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influenced the iconography of the resurrection, at times depicting various figures standing next to a glorified Christ.
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Byzantine art in the making: main lines of stylistic development in Mediterranean art, 3rd–7th century
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with a cruciform halo, flanked by standing figures of Moses on the left with a long beard, and
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has been celebrated in the Eastern church since at least the 6th century and it is one of the
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to the sixth century, although such mandorlas may have been depicted even before. The
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came down on the mountain at the time of the Transfiguration and also covered Christ.
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on the right. Below them are the three disciples named as present in the
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Metamorphosis: the Transfiguration in Byzantine theology and iconography
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Metamorphosis: the Transfiguration in Byzantine theology and iconography
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painting techniques. However, it is also greatly influenced by the
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A different, symbolic, approach is taken in the apse mosaic of the
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above it. This scene occupies the "sky" over a standing figure of
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The image of God the Father in Orthodox theology and iconography
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The subject typically does not appear in Western cycles of the
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The earliest known version of the standard depiction is in an
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Chapter 2: "The Iconography of the Transfiguration" pp. 67–81
136:". This very rare survivor of Byzantine art from before the
939:, 1971 (English trans from German), Lund Humphries, London,
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Image and relic: mediating the sacred in early medieval Rome
334:, color was used to convey spiritual and emotional meaning.
907:"Transfiguration and the Resurrection Icon" Chapter 9 in
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in ivory and a scene on the 5th century wooden doors of
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431:may have been shaped by his contemplations on the
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315:", is a masterpiece that reflects his mastery of
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398:In many Eastern icons a blue and white light
262:illustrate the rather unsatisfactory result.
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355:is a stunning example of the fusion of
1080:Christ in the House of Martha and Mary
709:Schiller, I, 146 (not mentioning 1456)
544:Resurrection of Jesus in Christian art
210:A more symbolic representation in the
502:Transfiguration Altarpiece (Perugino)
224:Basilica of Sant'Apollinare in Classe
212:Basilica of Sant'Apollinare in Classe
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937:Iconography of Christian Art, Vol. I
395:and he had to train his eyes to it.
353:Raphael's "Transfiguration of Jesus"
539:Ascension of Jesus in Christian art
481:Transfiguration of Christ (Bellini)
100:mosaic of the Transfiguration from
742:, 1977, p. 99, Faber & Faber,
78:, except for the fullest, such as
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1085:Christ Taking Leave of His Mother
475:Transfiguration (Bellini, Venice)
383:Most Western commentators in the
35:has been an important subject in
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1065:Christ and the Woman of Samaria
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1030:Rest on the Flight into Egypt
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890:by Andreas Andreopoulos 2005
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260:in the Museo Correr in Venice
140:shows a standing Christ in a
1288:Cultural depictions of Moses
1055:Miraculous Draught of Fishes
405:Feast of the Transfiguration
48:Feast of the Transfiguration
1184:Incredulity of Saint Thomas
791:Calling of Peter and Andrew
593:Saint Catherine's Monastery
508:Transfiguration (Pordenone)
114:Saint Catherine's Monastery
102:Saint Catherine's Monastery
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1090:Purification of the Temple
1040:Presentation in the Temple
1008:Adoration of the Shepherds
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1035:Massacre of the Innocents
520:Transfiguration (Savoldo)
514:Transfiguration (Raphael)
1244:List of statues of Jesus
1045:Christ Among the Doctors
750:(US: Cambridge UP, 1977)
720:National Gallery, London
644:Lorenzo Lotto, 1510-1512
526:Transfiguration (Rubens)
313:Transfiguration of Jesus
33:Transfiguration of Jesus
23:Transfiguration icon by
16:Subject in Christian art
493:The Transfigured Christ
487:Transfiguration (Lotto)
444:Paintings with articles
368:Dalmatic of Charlemagne
1147:Descent from the Cross
859:by Steven Bigham 1995
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321:Byzantine style of art
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132:, "the 'cult hero' of
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1283:Life of Christ in art
1239:Life of Christ Museum
1234:Stations of the Cross
1013:Adoration of the Magi
718:That panel is in the
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429:Maximus the Confessor
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167:The Gospel accounts (
158:James, son of Zebedee
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984:Life of Jesus in art
801:Schiller, I, 147–148
780:Schiller, I, 149–151
768:Schiller, I, 146–151
759:Schiller, I, 148–149
464:Museo di Capodimonte
407:the Orthodox sing a
373:Theophanes the Greek
138:Byzantine iconoclasm
25:Theophanes the Greek
1100:Agony in the Garden
834:by Erik Thunø 2003
688:17th century icon,
549:Depictions of Jesus
311:'s last painting, "
162:John the Evangelist
126:Justinian the Great
52:Twelve Great Feasts
1219:Depiction of Jesus
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577:below, 1025–1050,
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240:Saint Apollinaris
67:Siege of Belgrade
56:Eastern Orthodoxy
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166:
107:
81:
73:
71:
45:
30:
1257:Visual arts
1229:Holy Family
1152:Lamentation
1137:Crucifixion
1095:Last Supper
919:pp. 161–167
867:pp. 226–227
842:pp. 141–143
630: 1500
489:, 1510-1512
460: 1480
414:Holy Spirit
385:Middle Ages
361:perspective
357:Renaissance
325:perspective
317:Renaissance
278:(1518–1520)
236:Hand of God
185:Hand of God
134:Mount Sinai
118:Mount Sinai
89:Iconography
63:iconostases
1277:Categories
927:References
748:0571111548
433:katholikon
173:Mark 9:2–8
112:mosaic at
1189:Ascension
1126:Ecce homo
690:Bucharest
659:Yaroslavl
528:, 1604-05
522:, c. 1530
516:, 1515-20
483:, c. 1480
409:troparion
375:(above).
347:solemnity
302:epileptic
152:: Saints
80:Duccio's
1003:Nativity
657:Icon in
570:Nativity
533:See also
495:, 1513,
400:mandorla
290:, whose
284:Perugino
142:mandorla
1207:Related
579:Cologne
477:, 1450s
343:Raphael
336:Raphael
309:Raphael
296:in the
288:Raphael
276:Raphael
234:with a
228:Ravenna
216:Ravenna
991:Topics
943:
915:
894:
863:
838:
746:
676:, 1594
504:, 1517
468:Naples
146:Elijah
82:Maestà
1214:Jesus
1157:Pietà
697:Notes
154:Peter
130:Moses
122:Egypt
41:icons
941:ISBN
913:ISBN
892:ISBN
861:ISBN
836:ISBN
744:ISBN
438:East
160:and
110:apse
98:Apse
46:The
31:The
330:In
274:by
254:,
226:in
214:in
120:in
116:on
54:of
1279::
935:,
872:^
847:^
806:^
773:^
738:,
722:,
627:c.
625:,
466:,
462:,
457:c.
455:,
363:.
327:.
175:,
171:,
164:.
156:,
976:e
969:t
962:v
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