The Transfiguration and the Eikon of Christ : From Eusebius’ Letter to Constantina to the Iconoclast Era

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F00216224%3A14210%2F19%3A00111888" target="_blank" >RIV/00216224:14210/19:00111888 - isvavai.cz</a>

Výsledek na webu

<a href="http://dx.doi.org/10.1484/J.CONVI.4.2019039" target="_blank" >http://dx.doi.org/10.1484/J.CONVI.4.2019039</a>

DOI - Digital Object Identifier

<a href="http://dx.doi.org/10.1484/J.CONVI.4.2019039" target="_blank" >10.1484/J.CONVI.4.2019039</a>

Jazyk výsledku

angličtina

Název v původním jazyce

The Transfiguration and the Eikon of Christ : From Eusebius’ Letter to Constantina to the Iconoclast Era

Popis výsledku v původním jazyce

In the so-called Letter of Eusebius of Cesarea to Constantina, the section devoted to the Transfiguration of Christ lends itself particularly to comparison with other Early Christian texts that use the Tabor episode as an argument to deny the possibility of seeing or representing Christ. Examples include a portion of the Fragmenta in Lucam, also attributed to Eusebius of Caesarea, and a fragment by Leontius presbyter, quoted in Nicephorus of Constantinople’s Refutatio et Eversio. Such consonance helps support the letter’s authenticity, an object of an extensive scholarly debate, or at least indicates its early chronology. Furthermore, the interpretation these texts offer seems to be reflected in the visual production. The Transfiguration scene was never represented until the late fourth century; conversely, from the sixth century onwards, it was depicted in several works of art. During the iconoclast controversy, both those who favored icons and their opponents who rejected icons paid great attention to the Tabor episode, which confirms the crucial link between the Transfiguration and the representability of Christ.

Název v anglickém jazyce

The Transfiguration and the Eikon of Christ : From Eusebius’ Letter to Constantina to the Iconoclast Era

Popis výsledku anglicky

In the so-called Letter of Eusebius of Cesarea to Constantina, the section devoted to the Transfiguration of Christ lends itself particularly to comparison with other Early Christian texts that use the Tabor episode as an argument to deny the possibility of seeing or representing Christ. Examples include a portion of the Fragmenta in Lucam, also attributed to Eusebius of Caesarea, and a fragment by Leontius presbyter, quoted in Nicephorus of Constantinople’s Refutatio et Eversio. Such consonance helps support the letter’s authenticity, an object of an extensive scholarly debate, or at least indicates its early chronology. Furthermore, the interpretation these texts offer seems to be reflected in the visual production. The Transfiguration scene was never represented until the late fourth century; conversely, from the sixth century onwards, it was depicted in several works of art. During the iconoclast controversy, both those who favored icons and their opponents who rejected icons paid great attention to the Tabor episode, which confirms the crucial link between the Transfiguration and the representability of Christ.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

—

OECD FORD obor

60401 - Arts, Art history

Projekt

—

Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Convivium : Exchanges and Interactions in the Arts of Medieval Europe, Byzantium, and the Mediterreanean

ISSN

2336-3452

e-ISSN

2336-808X

Svazek periodika

6

Číslo periodika v rámci svazku

2

Stát vydavatele periodika

BE - Belgické království

Počet stran výsledku

18

Strana od-do

60-77

Kód UT WoS článku

000498806300005

EID výsledku v databázi Scopus

2-s2.0-85075596741