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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 ...
The Transfiguration of Jesus is an event described in the New Testament, where Jesus is transfigured and becomes radiant in glory upon a mountain. [1] [2] The Synoptic Gospels (Matthew 17:1–8, Mark 9:2–13, Luke 9:28–36) recount the occasion, and the Second Epistle of Peter also refers to it.
[1] The painting depicts the event of the Transfiguration of Jesus, wherein Jesus after walking up to a mountaintop with the three apostles Peter; James; and John, gains a divine radiance and white robes, and begins conversing with Moses (with the horns of light) and Elijah. It is a moment when his divine nature is directly revealed to the ...
James Burton Coffman suggests that the location of the transfiguration would have been either Mount Hermon, closer to Caesarea Philippi, "or one of its adjacent peaks": "Mount Tabor, in the days of Christ and the apostles was populated and had a fortress on top of it; and Christ's taking his apostles there would not have been taking them 'apart ...
The work therefore represented a return to the unifying values of faith. The painter was accompanied by a Franciscan theologian during the work's production. The work nominally portrays the Transfiguration of Christ , [ 3 ] though it omits the three apostles traditional to paintings of that event and relegates the figures of Moses and Elijah to ...
This transformation is often metaphorical, symbolizing a shift in perception, identity, or understanding. Unlike religious transfiguration, which often involves a direct connection with the divine or supernatural, secular interpretations of transfiguration focus more on personal growth, artistic expression, or philosophical change.
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Emile Mâle's famous study of 13th-century French cathedral art analyses many cycles, and discusses the lack of emphasis on the "public life [which] is dismissed in four scenes, the Baptism, the Marriage at Cana, the Temptation and the Transfiguration, which moreover it is rare to find all together". [8]