The Prophet Elijah in Art: Explorations and Appropriations
The drama, intensity and sense of mystery, key elements in the brief narrative of Elijah in the Book of Kings, held enormous appeal but also presented a formidable challenge to artists in every age. The prophet’s dramatic departure to heaven in his chariot of fire means that, not having died a natur...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Deutsche Bibelgesellschaft
[2020]
|
| In: |
Die Bibel in der Kunst
Year: 2020, Volume: 4, Pages: 1-21 |
| Standardized Subjects / Keyword chains: | B
Elija
/ Assumption
/ Christianity
/ Judaism
/ Islam
/ Death
/ Iconography
/ Karmeliten
/ Illuminated manuscript
|
| IxTheo Classification: | HB Old Testament |
| Online Access: |
Volltext (kostenfrei) |
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| 245 | 1 | 4 | |a The Prophet Elijah in Art |b Explorations and Appropriations |c Martin O’Kane (Professor of Biblical Studies, University of Wales Trinity Saint David) |
| 264 | 1 | |c [2020] | |
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| 520 | |a The drama, intensity and sense of mystery, key elements in the brief narrative of Elijah in the Book of Kings, held enormous appeal but also presented a formidable challenge to artists in every age. The prophet’s dramatic departure to heaven in his chariot of fire means that, not having died a natural death, he is still alive and is likely to appear at any time and in any place. Equally cherished by all three faiths, Judaism, Christianity and Islam, the details of his life have been explored, enhanced, celebrated and appropriated in stunning works of art, ranging from frescoes, stained-glass, painting, icons, altar-pieces to spectacularly illuminated manuscripts. This article begins with a general overview of the uniqueness of the prophet’s iconographic tradition, before focusing on the important patronage of the influential Carmelite Order in the Catholic Church which claimed Elijah as their founder, the centrality of the Eijah icon for Orthodox Christians and concludes with some important references to artworks in Judaism and Islam, all evidence of his universal appeal. | ||
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