The Secret Supper of Vaclav Mrkvicka (original) (raw)
Related papers
Depicting the Bread of the Last Supper
2009
Prior to about 1500 most depictions of the Last Supper in Western art showed unleavened bread on the table, but since then leavened bread has usually been shown. This change involved the abandonment of what was understood at the time to be a historically-accurate representation of the Last Supper, in favor of a historically-inaccurate one. The present article examines the combination of artistic, religious, and social factors that made this development uncontroversial when it occurred and that allowed it to persist during the Reformation and Counter-Reformation period when many aspects of religious art became subject to rigorous control.
Visllalizing Ihe Lasl SlltJjJer fonn and medium. In performances of pl ays, the word o f th e text on page is macle llesh. We may ask, th en, whether, in perfo rmances of th e Last Supper, there is any awareness of th e metaphorical layering t.hat. occurs as the stage breac! and stage wine are taken by an aclor impersonating Christ. and offerecl to the cli scipl es as his body and bloo<\. And we will examin e the tension between the focus o n the breacl ami wine and t.he irresistible di straction ofJudas. It. seems t.h al dl e sacred canno t be visualized without reference to the cmbodiment of its an t.i thesis.
The Gospel of John: The Original Version Restored and Translated, 2022
While there is abundant disagreement about various aspects of Leonardo's Last Supper, none seems to focus on the arrangement of the figures or the identity of the Beloved Disciple. This essay (culled from the upcoming third edition of a work seeking to reëstablish the hypothetical original version of the Gospel of John) discusses both matters and concludes with a comparative study to the still undeservedly little recognized Last Supper by the early Florentine woman painter Plautilla Nelli.
The Last Supper by Pieter Coecke van Aelst
Old Masters in New Colours, 2023
The paper discusses one of a number of paintings of the theme of The Last Supper by Pieter Coeck van Aelst and his workshop. Based on technological research and comparisons, it attempts to place it meaningfully within the artist's oeuvre.
Biblica 91 (2010), 348-369
"In the Gospels, Jesus’ last supper involves custom and legal issues: chronological discrepancies between the Synoptics and John, a mock trial before the Sanhedrin, two trials before Pilate (John), and so on. This study focuses on the calendar problem, a topic of utmost importance in ancient Judaism, and follows A. Jaubert’s hypothesis, against J. Jeremias’ now classical view: the Synoptics display a somewhat loose connection with the Jubilees sectarian calendar, while John’s chronology seems to be historically more accurate."
The Gestures of Judas Iscariot in “The Last Supper” Icons from 15th—18th Century’s іn Ukrainian Art
The International Journal of Humanities and Social Studies, 2015
In this article review of the most common gestures of Judas Iscariot in “The Last Supper” icons іn Ukrainian art is presented. The period 15th—18th centuries is considered. The main author’s conclusions are as follows. The gesture in the iconography of Judas Iscariot promotes expression of the main content and substance the idea of the composition. Some of the Judas’ gestures based on the narratives of Scripture, other gestures have symbolic value and are not described in the Gospels. Quite common gestures of Judas in the iconography of "the Last Supper" are pointing gestures. A common symbol that often accompanies the image of Judas in the iconography of the "Last Supper" is a knife – as a symbol of Judas betrayal of Jesus. Gestures of Judas also closely related to his main attribute – pouch of coins. It can be attached to a Judas belt, or Judas holds a pouch in his hand.