Kenaikan Yesus dalam seni rupa Kristen: Perbedaan antara revisi

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Menjelang abad ke-6 ikonografi Kenaikan telah didirikan dan menjelang abad ke-9 adegan Kenaikan sudah digambar pada kubah gereja-gereja.<ref name= Baggley >''Festival Icons for the Christian Year'' by John Baggley 2000 {{ISBN|0-264-67487-1}} pages 137-138</ref><!-- In some representations there may be no mountain and he may be climbing a [[mandorla]], or be lifted towards Heaven in a mandorla by angels.<ref name=Ross /> In [[Romanesque art|Romanesque]] depictions sometimes just the feet of Christ are shown as he disappears up into the clouds; this depiction became the most popular in Northern Europe, where it lingered in provincial wood [[relief]]s until well after the [[Reformation]]. Sometimes the last two footprints of Christ on the rock are seen; these were shown to pilgrims at what is now the [[Chapel of the Ascension (Jerusalem)|Chapel of the Ascension]] on the [[Mount of Olives]] in [[Jerusalem]].<ref name="Kerbrat"/> The scene may also include the Apostles, two men in white and the Virgin Mary.<ref name=Ross >''Medieval Art: a Topical Dictionary'' by Leslie Ross 1996 {{ISBN|978-0-313-29329-0}} pages 25-26</ref>

 

 

The earthly part of the Ascension depictions do not only represent those believed to have been present at the Ascension, but the entire Church.<ref>''The Icon: Window on the Kingdom'' by Michel Quenot 1992 {{ISBN|0-88141-098-5}} page 61</ref> In some Ascension depictions both [[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.<ref>''Christian Iconography: a Study of its Origins'' by [[André Grabar]] 1968 Taylor & Francis Publishers, page 76</ref> In Orthodox icons the Virgin Mary is at the center and Christ can be depicted in a mandorla, supported by angels.<ref name= Baggley /> Christ may be crowned in many such depictions.<ref name= Baggley /> 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.<ref>''Gardner's Art Through the Ages: The Western Perspective'' by Fred S. Kleiner 2000 {{ISBN|978-0-495-57360-9}} pages 244-245</ref>

Other scenes with a similar raised figure, that used similar compositions to the Ascension are the [[Assumption of Mary]], rare until the late Middle Ages, the [[Transfiguration of Jesus]], and from the Early Renaissance the [[Resurrection of Jesus]], where he begins to be seen floating clear of the tomb. Perhaps the earliest surviving works to show this iconography of the Rsurrection is the well-known [[fresco]] by [[Andrea da Firenze]] in the Spanish Chapel of the [[Basilica of Santa Maria Novella]] in [[Florence]], which dates to 1366.<ref>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 [https://www.jstor.org/stable/881507 JSTOR]</ref>

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