Page 56 - Studia Universitatis Hereditati, vol 12(2) (2024)

led them up a high mountain by themselves. Christ as the Holy Son, the apostles are depict-
There he was transfigured before them. ed with halos during the Transfiguration, un-
His face shone like the sun, and his clothes like the figures on the left and right sides of the
became as white as the light. [Mt 17:1–9; composition. This indicates the unique nature of
Mk 9:2–9; Lk 9:28–36]. this Biblical scene. The Apostle Peter, one of the
witnesses, describes the event as follows, empha-
The scene of the Transfiguration is depict- sizing the sensory aspect of the experience: ‘For
ed in all the synoptic Gospels. The composition we did not follow cleverly devised stories when
of the Transfiguration is presented narratively we told you about the coming of our Lord Je-
in three distinct parts. On the left side, Christ is sus Christ in power, but we were eyewitnesses of
shown addressing John, Peter, and James as they his majesty. He received honour and glory from
ascend the mountain (Mt 17:1; Mk 9:2; Lk 9:28). God the Father when the voice came to him
On the right side, Christ is depicted returning
56 from Mount Tabor, commanding the disciples from the Majestic Glory, saying, ‘This is my Son,
whom I love; with him I am well pleased.’ We
not to tell anyone about the event they witnessed. ourselves heard this voice that came from heaven
studia universitatis hereditati, letnik 12 (2024), številka 2 / volume 12 (2024), number 2
The central part of the composition captures the when we were with him on the sacred mountain’
moment of Christ’s Transfiguration before the (2 Pt. 1:16–18). This statement highlights the
disciples, revealing His divine nature. Christ is sense of hearing, given that the disciples were
the central figure, clothed in white, surrounded blinded by the light yet amazed by the opportu-
by a mandorla from which rays of light emanate, nity to hear the voice of God directly. The senso-
rendered in a distinctive painterly manner. To ry presence of light, depicted from the Tabernac-
the left and right of Christ stand Moses, hold- le and Solomon’s Temple to the Transfiguration,
ing the tablets, and the prophet Elijah, a custom- represents God’s presence in the world and the
ary feature of this composition (fig. 6a). The dis- manifestation of divine sensory perception
ciples, depicted at the bottom of the scene, are through light (Lv 24:3).
shown recoiling from the sight, overwhelmed
by the brilliance of the light and the divine rev- The Betrayal of Judas
elation. This represents a dynamic and dramat-
ic moment in the Holy Scriptures, characterized While he was still speaking, Judas, one of
by its intense sensory experience. The sensory the twelve, arrived. With him was a large
impressions are vividly depicted in this composi- crowd armed with swords and clubs, sent
tion. The dialogue between Christ and the apos- from the chief priests and the elders of the
tles is illustrated in an exceptionally narrative people. Now the betrayer had arranged a sig-
form, supported by the scriptural sources, specif- nal with them: ‘The one I kiss is the man; ar-
ically the synoptic Gospels. Christ fulfils the role rest him.’ Going at once to Jesus, Judas said,
of the Creator from the Pentateuch and the real- ‘Greetings, Rabbi!’ and kissed him. Jesus re-
ization of all the messianic prophecies found in plied, ‘Do what you came for, friend’ [Mt
the Old Testament. The significance of this com- 26:47–50].
position is underscored by the radical presence of The cycle of the Betrayal of Judas is marked
light, symbolizing the absolute and eternal glo- by a strong narrative character and dramatiza-
ry of the Holy Son, which was concealed during tion of the events, almost resembling the graph-
His earthly life (fig. 6b). Abstract sensory expe- ic novel style, a characteristic technique of the
rience materializes through the depiction of the Dečani painters. Although this event is de-
apostles’ reaction to the Transfiguration itself, as scribed in all four Gospels, the depictions of
they are blinded by the light and filled with fear, the scene vary significantly. The Betrayal of Ju-
an almost instantaneous response. Recognizing das follows the serene scenes of Christ’s prayer in