patristicБиблия и христианская древностьBible and Christian Antiquity2658−78152713-1122Московская духовная академия10.31802/2658-4476-2020-2-6-132-154patristic-318Research ArticleПЕРЕВОДЫ, ИССЛЕДОВАНИЯ И КОММЕНТАРИИ. Издания и переводыTRANSLATIONS, RESEARCH AND COMMENTS. Editions and translationsПреображение: богословие и иконография“Transfiguration: Theology and Iconography”АлексеевА. А.AlexeevA. A.

Анатолий Алексеевич Алексеев - доктор филологический наук, профессор кафедры библеистики

199034, г. Санкт-Петербург, Университетская набережная, д. 7/9

Anatoly A. Alexeev - Doctor of Philology, Professor at the Department of Biblical Studies

alexeev.anatoly@gmail.comСанкт-Петербургский государственный университетSaint-Petersburg State University20200503202602132154Copyright © Алексеев А.А., 20262026Алексеев А.А.Alexeev A.A.Данная работа распространяется под лицензией Creative Commons Attribution 4.0.This work is licensed under a Creative Commons Attribution 4.0 License.https://www.patristic.ru/jour/article/view/318

В статье рассматривается богословие Преображения. Отмечается богословская взаимосвязанность со сценами Крещения и Гефсиманского борения, тождественность сцены Преображения у синоптиков с Прославлением в Евангелии от Иоанна. Если первое художественное изображение сцены в базилике св. Аполлинария (Равенна, Классе, ок. 549 г.) использует её для обобщённого богословского образа Иисуса средствами художественной аллегории, то следующее — в базилике монастыря св. Екатерины на Синае (ок. 565 г.) — стремится преодолеть символизм и аллегоризм средствами и приёмами иконописи.

The paper deals with a theology of Transfiguration. It points out its mutual theological affinity with the Baptism and Gethsemane Agony scenes within Synoptic Gospels as well as with Glorification in John 12. The first artistic image of Transfiguration in the Basilica di Sant’ Apollinare in Classe, about 550, presents a theologically generalized image of Jesus by means of allegory, whereas the next attempt in St Katharina of Sinai, about 565, tends to overcome symbolism and allegory by means of iconography.

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The authors declare that there are no conflicts of interest present.