The description of the Ascension of the Lord is contained in the canonical texts of the New Testament: this is described in detail in the Acts of the Holy Apostles (Acts 1:2–12) and the Gospel of Luke (Luke 24:50–51), a summary of this event is given at the end of the Gospel of Mark ( Mark 16:19). According to legend, the temple on the site of the Ascension of Christ - the Mount of Olives near Jerusalem - was erected through the efforts of the holy Empress Helen, who visited the Holy Land around 327-328 and organized the search for shrines and the construction of churches.
The chapel on the site of the Ascension, built by the crusaders where the early Christian temple was located
In the eastern part of the Christian world, until the end of the 4th century, the celebration of the Ascension and Pentecost was probably still celebrated together, on the fiftieth day after Easter. The Western pilgrim Egeria, who visited the Holy Land around 381-384, writes about this tradition. She reports that on the evening of Pentecost, all the Christians of Jerusalem gather on Mount Olivet, go “to the place from where the Lord ascended into heaven,” and a service is performed with the reading of the Gospel and the Acts of the Apostles, which tell about the holiday.
Perhaps the result of this single celebration was the depiction of the Ascension and Pentecost found in early Christian art in one composition, for example, on an ampoule originating from Palestine, which served as a vessel for shrines brought from pilgrimage. In this miniature composition, God the Holy Spirit is depicted as He was seen during Baptism in the Jordan - in the form of a dove descending from the wide open right hand of God the Father.
"Ascension-Pentecost" Ampoule. 6th century Collection of the Cathedral of Monza, Italy. draw
Sources of the 5th and subsequent centuries already clearly distinguish Ascension as a separate holiday on the fortieth day after Easter. The first images of the Ascension that have come down to us also date back to the 5th century, for example, the avorium dating from the beginning of the 5th century is a carved plank made of ivory.
Avorius. Beginning of the 5th century Bavarian National Museum, Munich, Germany
Two scenes are inscribed in the rectangular format of the avorium: at the bottom are the myrrh-bearing women at the Holy Sepulcher, at the top - the Ascension, presented so unusually for a modern viewer that it is not easy to identify the image depicted. Jesus Christ ascends the mountainside with long strides, while holding on to the right hand of God the Father, stretched out from a segment symbolizing the spiritual Heaven, the Kingdom of Heaven.
Such an image is an almost verbatim illustration of the words of the sermon of the Apostle Peter, said immediately after the descent of the Holy Spirit on the apostles: “This Jesus God raised up, of which we are all witnesses. So He was exalted to the right hand of God…” (Acts 2:32–33). In art Western Europe this version of iconography was quite popular and survived until the time of the Gothic, but in the East this version did not take root, apparently due to the lack of a motive of triumph and theophanism, necessary in the depiction of this important event.
Wooden door of the Church of Santa Sabina. Vv. Rome, Italy. Fragment
On carved wooden door Roman church of Santa Sabina (c. 430) The Ascension is already depicted in more traditional form, albeit with some features characteristic of early Christian art. In the center of the upper register is the Savior ascending standing in glory, depicted not just as a halo (clypeus, medallion), but as a large Laurel wreath.
This detail emphasizes the theme of triumph, victory - traditionally only winners of competitions, or generals returning to Rome after a successful campaign, could receive laurel wreaths. From four sides, the laurel medallion is, as it were, supported by tetramorphs on their wings - four mysterious angelic creatures with the faces of a lion, a calf, a bull and a man, whom the prophet Ezekiel saw during the manifestation of Divine glory to him (Ezek. 1: 1–26).
The artist tries in every possible way to emphasize the solemn, triumphal nature of the Lord's ascension in the flesh to heaven. The allegorical images of the Sun and the Moon placed below the tetramorphs represent the entire created world contemplating the Ascension of its Creator.
The theme of Theophany, the manifestation of the Deity in all His glory and power, corresponds to the main context of the Ascension event. The disciples become witnesses of the glorification of the Son, witnesses of the manifestation of the Divine glory of the Son to the world. The Ascension of the Lord is also an image of His Second Coming. The angels who appeared to the apostles reported that: “This Jesus, who has ascended from you into heaven, will come in the same way as you saw Him ascend into heaven” (Acts 1:11). This eschatological significance of the Ascension is conveyed through the general theophanic character of the entire composition.
It was precisely because of its theophanism that the image of the Ascension was placed in the most hierarchically significant area of the temple - on the vault of the dome. There is an assumption that it was the Ascension that was depicted in the dome of the rotunda of the Holy Sepulcher in Jerusalem, erected by St. Constantine the Great. This composition occupied the vault of the dome in the church of St. Sophia in Thessaloniki, the temples of Cappadocia, the church of St. Apostles in Pech, the Cathedral of the Transfiguration of the Savior Mirozhsky Monastery, the Church of St. George in Staraya Ladoga, the Church of the Transfiguration on Nereditsa (the fresco is destroyed), the Cathedral of San Marco in Venice.
Mosaic of the dome of the Church of St. Sophia in Thessaloniki. 880-885 Greece
On the miniature of the "Ravvula Code", originating from Syria, the Ascension is depicted against the backdrop of a picturesque mountain landscape. In addition to the winged tetramorphs, at the base of the mandorla (an oval symbolizing the glory and radiance of the Deity), there are some fiery wheels that the prophet Ezekiel saw. The entire “construction” depicted resembles an ancient chariot, which is ruled by the Lord.
If we recall that the commander, who deserved the triumph ceremony, entered the city on a chariot, then such an artistic allegory becomes quite understandable. Two angels, presented in the form of winged youths, bring wreaths to Christ - the triumphant award, the other two, as it were, support the mandorla.
Miniature of the Ravula Codex. 586 Laurenzian Library, Florence, Italy
Below the fiery wings of the tetramorphs, the right hand of God the Father is depicted. Flashes of fire fluttering in the air can be interpreted both as a detail of the mentioned vision of Ezekiel: “fire walked among the animals, and the radiance from the fire and lightning came from the fire” (Ezek. 1:13), and as fiery tongues descending on the apostles standing below. Thus, on this miniature, as well as on the ampoule, there is an image of two events: the Ascension and Pentecost.
Miniature of the Evangeliary (Athos Dionisiou 587). Byzantium. 11th century Monastery of Dionisiat, Athos
In the art of the Middle Byzantine period, the Savior was depicted seated on a throne, on a rainbow or on a celestial sphere. This version of the image has established itself in iconography, since it the best way conveys the dogma set forth in the text of the Creed: "... And ascended into heaven and sits at the right hand of the Father ...".
Almost always, an interesting anachronism is observed in the composition: in the lower register, next to one of the two angels in white robes pointing to the Lord, the apostle Paul is depicted, who at that time not only was not a disciple, but was a persecutor of Christians by Saul. Shortly after Pentecost, he guarded the clothes of the Jews who stoned Archdeacon Stephen, and approved of this murder.
This discrepancy in chronology is explained by the fact that the icon has never been understood in Orthodoxy as an accurate, formal illustration of the text of Holy Scripture. The icon not only "shows" the event, but reveals its meaning and significance. The image of the Ascension is the image of the New Testament Apostolic Church founded by Christ and spread throughout the earth by the preaching of the apostles and their successors. Therefore, the Apostle Paul is always depicted on the icon of the Ascension.
The icon is not intended to express only the "letter" of Scripture, otherwise, for example, the image of the Mother of God on the icon of the Ascension would be doubtful, since the text does not mention Her presence on the Mount of Olives. However, the Mother of God is always depicted, since the icon must convey the very essence of the Holy Scriptures, express the foundations of the Christian dogma.
The Church teaches that the Ascension is the end of the earthly ministry of the Savior, the final moment of the dispensation of the Son of God. It began in Bethlehem when the Second Hypostasis Holy Trinity- God the Son - incarnated from of the Blessed Virgin. Her presence on the icon of the Ascension reminds us of the beginning of the Son's dispensation, the logical conclusion of which took place on Mount Eleon. Further, from the moment of the Descent of the Holy Spirit, a new stage in history begins - the economy of God the Holy Spirit.
Ampoule. 6th century Collection of the Cathedral of Monza, Italy. draw
Reliquary of the Sancta Sanctorum. Late 6th - early 7th century Museums of the Vatican. Fragment
Golden ring. Byzantium. 7th century Walters Art Museum, Baltimore, USA
triptych center. 7th-9th centuries Monastery of St. Catherine on Mount Sinai, Egypt
Byzantine icon. 8th-9th centuries Monastery of St. Catherine, Sinai, Egypt
Miniature of the Khludov Psalter. Byzantium. Middle of the 9th (?) c. GIM, Moscow
Silver plate. XI-XII centuries Museum fine arts them. Sh. Amiranashvili, Tbilisi, Georgia
Fresco of Agakalti-Kilise. Early 11th century Cappadocia, Turkey
Fresco of the Karanlik Church in Goreme. XI-XIII centuries Cappadocia, Turkey
Fresco of the Church of St. Sophia in Ohrid. Mid 11th century Macedonia
Fresco of the Transfiguration Cathedral. Mirozhsky Monastery in Pskov. OK. 1156 Russia
Fresco of the dome of the Church of St. George in Staraya Ladoga. 60s of the XII century. Russia
Fragment of a pulpit made of bone. Germany. Koln. 12th century England. London. Victoria and Albert Museum
Epistyly icon. Byzantium. 2nd half of the 12th century Monastery of St. Catherine, Sinai. Fragment
Mosaic of the central dome of the Cathedral of San Marco. 12th century Venice, Italy
Mosaic of the central dome of the Cathedral of San Marco. 12th century Venice. Fragment
Icon from the Dormition Sob. Vladimir. A. Rublev, D. Cherny and workshop. Around 1408, State Tretyakov Gallery
Russian icon. Tver. Mid 15th century GTG, Moscow
Byzantine enamel stylization. Europe. 19th century Metropolitan Museum, New York, USA
HOPE NEFEDOV
ACCORDING TO THE MATERIALS OF THE ORTHODOX PRESS
Century:XIV
Iconographic reference: Icons with twelve feasts (on three boards) in the Novgorod St. Sophia Cathedral occupied the space between two pre-altar pillars standing on the sides of the central apse. In order for the icons to fit exactly in the area allotted for them (the width of the span is about 6 m 30 cm) and in order to maintain the rhythm of narrow delimiting strips between the scenes, the right margin, facing the center of the overall composition, was removed from the first icon, and from the third, respectively, - left margin. The published icons were most likely executed after a devastating fire in June 1340.
Stylistic reference: The style of the festive tier of St. Sophia Cathedral in its entirety reflects the new principles of Byzantine painting of the Paleolog period. The compositions have lost their former symmetry, they are built on diagonal lines, medium-sized figures are depicted in motion, in complex angles. Free-lying draperies convey the slenderness of the figures, attract with the beauty of color reflections and white highlights. Volumetric buildings of various shapes, together with massive slides, help convey the spatiality of the compositions. The icons were painted by visiting Byzantine icon painters, as evidenced by the Greek inscriptions, the use of expensive imported paints, the use of a golden assist not only on blue clothes.
3.
Century:XV
Location: Sergiev Posad State Historical and Art Museum-Reserve
4.
Century:XV
Location: State Tretyakov Gallery, Moscow
Iconographic reference: The iconography of the "Ascension" was formed on the basis of the texts of the New Testament (Mark, ch. XVI, article 19; Luke, ch. XXIV, article 50-52; Acts of the Holy Apostles, ch. I, article 4-12) about the ascension of Christ to heaven before the disciples from the Mount of Olives on the fortieth day after the Resurrection. In addition, the texts of the prophecy of Isaiah, the songs of the canons for the Ascension ("the scarlet robe" of Christ) and the sixth member of the Creed ("who ascended into heaven") were used. The image on the icon is not a direct illustration of the texts of Holy Scripture. The composition of the icon includes the figures of the Mother of God as the personifications of the Christian Church and the Apostle Paul, which are not mentioned in these texts. Christ in glory, in the form of the Almighty, is depicted as the Savior of the Second Coming, about which two angels prophesied to the apostles. The iconography of the "Ascension" in the art of the Balkan world and Russia belongs to the most stable versions. Some changes towards the rhythmic and spatial complication of the composition occur at the turn of the XIV-XV centuries.
5.
Century:XV
Storage location: Central Museum ancient Russian culture and art to them. Andrey Rublev
Iconographic reference: The icon was part of the festive row of the iconostasis. On the reverse side there are numerical marks marking the place in the row: the "Presentation" has seven scratches, the "Entrance to Jerusalem" has nine, and the "Ascension" has twenty. Consequently, twenty-one icons were included in the festive rite (the last one should have been the “Descent of the Holy Spirit” following the “Ascension”). The rite began with the "Nativity of the Mother of God" and the "Entrance into the Temple", which preceded the traditional gospel cycle. Judging by the size of the icons and their brilliant execution, it was an iconostasis in a small church, possibly a brownie, in the estate of a noble person. The icon uses iconographic schemes that have developed in Byzantine painting of the 14th century and are well known in Russia from the Moscow icons of the festive rows of iconostases of the first quarter of the 15th century: from the Annunciation Cathedral of the Moscow Kremlin and from the Trinity Cathedral of the Trinity-Sergius Monastery.
Stylistic reference: The type of faces, as well as their execution, are close to the Tver double-sided tablet icons from the Trinity-Sergius Monastery. In particular, this applies to female and youthful faces, rather elongated, with a narrow drop-shaped illumination at the tip of the nose. In some cases, the similarity is striking, for example, in the interpretation of the face of the Mother of God in the "Assumption" on a tablet, in Korinsky's "Candlemas" and in the "Ascension" from the Central Museum of Archeology; children's faces from "The Nativity of Christ" and "Entrance to Jerusalem" on tablets and in the "Entrance to Jerusalem" from TsMiAR. In the style of the Trinity tablets, in the plasticity of forms, the connection with the Byzantine art of the 14th century is vividly felt. On the faces depicted in a three-quarter turn, the light forms a characteristic extended glare, indicating the greatest convexity of the form. This highlight extends from the outer edge of the eye socket down to the chin. Towards the edge of the volume, the light gradually weakens, but nevertheless forms a sharp contrast with the neighboring shaded area of the cheek. The simulations are laid precisely without the former energy; sankir (dark, olive-brown) and ocher (brownish, cold shade) are close in tone. At the same time, it should be noted that some achromaticity of personal writing, characteristic of the Tver icons of the 15th century, becomes more pronounced by the middle of the century. So defining for the holidays from the collection of M.N. Popov, the differences in the tonality of personal writing and the rest of the painting are still absent in the tablets from the Trinity-Sergius Monastery, performed more freely and uninhibitedly. The masters' predilection for plastic rather than rhythmic constructions is already answered by the initial layout of colors in the overall composition of the icons. Icon painters, therefore, build a composition initially light in rhythm, not avoiding the proximity of close colors and combining colorful spots into large zones of the same color. The conditional volume of the figures in this case is revealed by light colored different shades cool bluish tone. These holidays characteristic of painting are from the collection of M.N. Popov's principles are consistently carried out in Tver's works.
6.
Century:XV
Location: Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve
Iconographic reference: At the top of the icon is the Savior ascending in glory supported by two angels. Below in the center is the Mother of God with raised hands in prayer, surrounded by the apostles. Behind the Mother of God are two angels. On the right is the apostle Paul, on the left - Peter. The faces of the apostles are turned to Christ. The Ascension of the Lord to heaven on the fortieth day after Easter is mentioned in the texts of the Gospels of Mark (Mark XVI, 19-20) and Luke (Luke XXIV, 50-53), as well as the Acts of the Apostles (Acts I, 9-11 , II, 33). The Ascension took place on the Mount of Olives, where the Savior brought his disciples. According to church tradition, the Mother of God was present along with the apostles. "And when he had blessed them, he began to depart from them and was taken up into heaven." (Luke XXIV, 51). At that moment, two angels appeared, announcing the coming Second Coming of the Savior to earth. The iconography of the "Ascension" takes shape already in early Christian times and subsequently does not undergo significant changes. Images of the "Ascension" have been known in the composition of the festive rows of Russian iconostases since the middle of the 14th century (the festive row of 1340-1341 of the iconostasis of St. Sophia of Novgorod). In comparison with the Russian icons of the XIV-XV centuries that have come down to us on this subject, Kirillov's "Ascension" has a number of features. Thus, the angels carrying the glory in which the Savior ascends are presented not in profile, but almost frontally. As for the two angels standing on either side of the Mother of God in the lower part of the icon, they are depicted with lowered hands, in dark clothes, and their faces are turned in one direction.
Stylistic reference: The icon belongs to the group of monuments created by the "second" artist of the Kirillov iconostasis. The image of slides with wide whitewashed breezes is reminiscent of the slides from Baptism and Transfiguration.
Fragment. Figure of Our Lady
Fragment. Figure of the Savior
Fragment. Slides
Fragment. Angels
7.
Century:XV
Location: Novgorod State United Historical, Architectural and Art Museum-Reserve
Fragment. Angel
Fragment. Faces of the Mother of God, angel, apostles
Fragment. Angel from Ascension
8.
Century:XVI
Location: State Russian Museum, St. Petersburg
Stylistic reference: A feature of the iconography of the icon is also the image of the footprints of the Savior left by Him on the Mount of Olives before the Ascension.
Fragment. Ascension.
9.
Century:XVI
Location: State Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve
Iconographic reference: On the front side of the icon there is an image of a holiday, on the reverse side - the most revered saints of the church year.
Stylistic reference: Dense brown lettering of faces, hard, black outline, strengthening of the role of linear drawing, acquiring a calligraphic character, widespread use of ornaments, coloring, which is dominated by dark ocher and deaf green and brown tones, specific traits letters of the second half of the XVI century.
10.
Century:XVI
Location: Collection of art gallery "Deja Vu"
Iconographic reference: Comes from the festive row of the iconostasis. A rare iconographic detail is the depiction of the sky (in the form of a segment) receiving a mandorla with the ascending Christ. A limited number of figures of the apostles are presented - two on each side of the Mother of God.
Stylistic reference: The densely filled and rhythmically constructed composition, the drawing of the figures, the types of faces and their expression, the interpretation of the slides determine the dating of the icon to the third quarter of the 16th century, within the framework of the 1550-1560s. The artistic merits of the monument indicate that the master who executed it belonged to a developed tradition, rooted in antiquity. The coloring and techniques of personal writing connect the icon with the artistic culture of the cities of the central part of Russia, possibly the Upper Volga region.
11.
Century:XVI
Iconographic reference: The iconographic scheme of the icon is close to the depiction of this plot from the tier of the Church of St. Nicholas in Lyubyatovo. The postures of the apostles, standing on the sides of the figure of the Mother of God, presented in the type of Oranta, are somewhat different. Characteristic features of this icon are images of two angels behind the back of the Mother of God, which merge almost into one whole, and their strictly symmetrical gestures and outstretched wings resemble a heraldic sign according to the drawing. Moreover, the glory of Christ is not represented high in the heavens, but touches the Mount of Olives. On its top is a stone with footprints of the Savior - a detail typical of Pskov art in the iconography of the Ascension. Due to the noted features, the icon is perceived as a reliable evidence of an accomplished event - it seems that the feet of the ascending Christ had just stood on a stone.
12.
Century:XVI
Location: Pskov State United Historical, Architectural and Art Museum-Reserve
13.
Century:XVI
Location: Pskov State United Historical, Architectural and Art Museum-Reserve
Iconographic reference: The iconography of this icon dates back to in general terms to the version known in Moscow monuments of the early 15th century - the iconostases of the Assumption Cathedral in Vladimir (1408) and the Trinity Cathedral of the Trinity-Sergius Lavra (1420s). The difference is the absence of one of the apostles, the change in the posture of the apostle leading the left group, and the addition of a pair of trumpeting angels for the glory of Christ. In addition, there is a remarkable detail here: a stone with footprints of the Ascended Savior on the Mount of Olives is a real relic that has survived to this day in the Temple of the Ascension on the Mount of Olives in Jerusalem. Almost all the features of this icon go back to the temple image of the Pskov New Ascension Church of 1542 (now in the Novgorod Museum) or to a common, unpreserved sample.
14.
Ascension (from the festive rank)
Century:XVI
Location: Pskov State United Historical, Architectural and Art Museum-Reserve
Iconographic reference: The icon combines the features of several iconographic versions of the Ascension. The lower part of the composition is almost identical to the icon of the same name from the festive row of the aisle of the Nativity of the Virgin in St. Sophia Cathedral in Novgorod, which was executed in the 1530s - 1540s. in the workshop of Archbishop (future Metropolitan) Macarius. Among the features that bring these two icons together is the image of the Mother of God in the Oranta type - unlike most Russian icons of the 15th century - as well as the postures of the apostles and angels standing behind the Mother of God. Top part the composition is enlarged - which is typical for the Pskov icons of the Ascension of the 16th century, in which the theme of the coming Second Coming of the Judge and the Almighty was especially emphasized. In iconography, it represents an intermediate variant between the more traditional depiction of flying angels supporting the glory of Christ from below, and kneeling angels clasping the glory with both hands (this variant has been known since the "Ascension" of 1497 from the iconostasis of the Dormition Cathedral of the Kirillo-Belozersky Monastery and, in particular, it was used on the already mentioned icon of the Nativity chapel of Sophia of Novgorod).
15.
Century:XVII
Location: Pskov State United Historical, Architectural and Art Museum-Reserve
Stylistic reference: The icon repeats the rendition known from a number of works of Pskov icon painting of the 15th-16th centuries with images of four angels supporting a mandorla with Christ, and a stone on the top of the Mount of Olives.
16.
Century:XVII
Location: Pskov State United Historical, Architectural and Art Museum-Reserve
,
icon painter Yuri Kuznetsov
In the Gospel of St. John, Christ said to the disciples at a farewell conversation: “There are many mansions in the houses of My Father. And if it were not so, I would have said to you: ″I am going to prepare a place for you″. And when I go and prepare a place for you, I will come again and take you to myself, so that you too may be where I am. And where I am going, you know, and you know the way” (John 4; 2-4). In these words of His - a foreshadowing of the future resurrection and ascension, which followed after forty days.
For forty days He was with them, talking and teaching them how to further build up a new Church for them, how they themselves should spread the faith of Christ, and at the same time ate with them, so that they would be completely convinced that He had returned to them after His resurrection. Thus the Lord prepared them for the apostolic ministry, so that, having received the Holy Spirit at Pentecost, they could enter the path of the apostolic ministry. But He Himself was no longer inseparably with them, but only appeared from time to time.
Forty days is a special number in the sacred history of mankind, according to the law of Moses, on the fortieth day after birth, male babies were to be brought to the temple by their parents to present them to God. So the Lord, as if born again on His Bright Resurrection, on the fortieth day after Pascha ascended into the Heavenly temple of His Father as the Son of God. He continued the Law, thereby indicating the further path to all who follow him in earthly life.
And on the fortieth day the Lord appeared to the disciples for the last time in His earthly life, when they and His Most Pure Mother were in Jerusalem according to His command. He again talked with them and again said that they should not leave Jerusalem anywhere until they received the Comforter. Here lies the answer to the question why in the first years of Christianity everyone was waiting for the second coming of Christ just about, very soon - His disciples still did not get rid of the confidence that He spoke to them not about the earthly kingdom, but about something else - God's, and therefore they asked Him: “Lord! Will you not restore the kingdom of Israel at this time?” And He, not yet wanting to fully reveal to them that which is impossible to say with earthly words, answered them: “It is not your business to know the times or dates that the Father has given to His authority. But you will receive power when the Holy Spirit comes on you, and you will be my witnesses in Jerusalem and in all Judea and Samaria, and even to the last countries of the earth” (Acts 1, 6-8).
When all together they went to Bethany, to the Mount of Olives - the Mount of Olives, He ascended to the very top of it and stretched out His hands in blessing over everyone, and, blessing, began to rise up. There, above the peak, a white light cloud soared and soon hid it from the eyes of all who watched His ascension with trepidation: “... He ascended in their eyes, and the cloud took Him out of their sight” (Acts 1; 9). So they stood and looked after him, sad again that they were once again parted from their beloved Teacher, but they kept His words in their memory: “It is better for you that I go; for if I do not go, the Comforter will not come to you; but if I go, I will send Him to you” (John 16:7).
They probably would have stood like that for a long time, but then two angels in bright clothes appeared in front of them and said: “Men of Galilee! What are you standing and looking at the sky? This same Jesus, who was taken up from you into heaven, will one day come again to earth in the same way as you saw him go up into heaven” (Acts 1; 8-14). And the disciples returned home, encouraged by both the Lord and the angels, glorifying the Savior, and expecting everything else, about which He commanded them to wait.
History of the celebration
In the Four Gospels, the event of the ascension is described in most detail by the evangelists Mark and Luke and in the first chapter of the Acts of the Apostles. The celebration of the Ascension of the Lord began already in the 1st century from the Nativity of Christ, which is recorded in the Apostolic decrees, because the disciples were witnesses of this great event.
Hymns for the feast were written by such wonderful creators of many prayers and other liturgical works as St. John of Damascus and St. Joseph the Songwriter - they own the canons for the feast, which date back to the 7th century. Kontakion and ikos is a composition by Roman the Melodist, it dates back to about the 5th century.
The widespread celebration of the Ascension as an independent holiday began only in the 4th century, when, after the victory of the Equal-to-the-Apostles Tsar Constantine the Great over pagan Rome, Christians received enough freedom to freely profess the faith of Christ. Until that time, the Ascension was celebrated together with the feast of the Descent of the Holy Spirit, that is, on Pentecost, that is, not on the fortieth, but on the fiftieth day after Easter.
Then in the IV century Equal-to-the-Apostles Empress Helena, the mother of Constantine the Great, at the behest of her royal son, went to Jerusalem and found both the path that Christ went to Calvary, and the place of His crucifixion, and the Life-Giving Cross itself, on which the Lord was crucified, and the place His ascension. The Holy Empress erected a temple over the place where the imprint of His foot remained, now there stands the majestic Cathedral of the Ascension of the Lord.
The meaning of the icon
Such Holy Fathers of antiquity as John Chrysostom and Blessed Augustine testified of His ascension. The interpretation of John Chrysostom to this phenomenon, which elevates a person to his true scale, to which he must strive in order to be worthy of himself, created in the image of God and likeness, is amazing, touching and full of Divine greatness at the same time: “Now, on the day of the Ascension, The human race has been completely reconciled with God, the ancient strife and enmity have been destroyed, and we, who are unworthy to live even on earth, have been taken up to heaven. Now we inherit the Kingdom of Heaven, we who do not stand even on earth, we ascend to heaven, we inherit the Throne of the King and Master, and human nature, to which the cherub forbade entry into paradise, is now exalted above every cherub.
"... And human nature ... is now exalted above every cherub." This is where the greatness is, this is the final point of the arrival of mankind, beyond which Eternity begins with Him. This heritage is the true home of people, but here, on earth, we are only learning to be such that there, at the Throne of God, we can exist without perishing. To be THERE, to live naturally in the conditions of the Kingdom of God, one must possess certain qualities, otherwise we simply cannot resist, cannot endure that purity, that Light of Tabor, which will illuminate every shadow, every dark corner of the soul that appears before God. Everything dark will be destroyed by this Light, the Holy Spirit, and only Truth and Beauty will remain in the souls, worthy of being with Him at His right hand…
Thus ended the earthly ministry of the Son of God. He showed us the way, He opened the doors we were talking about Old Testament prophets connecting the world of this world with the world above. This is such a treasure that if you realize it, it becomes clear that with joy a huge responsibility before God, first of all, for oneself, has come to a person. If God was ready to become a man in order to save everyone, then how can we, who have received the opportunity of deification, neglect it! Yes, the Kingdom of God is given by force, but the Lord never leaves without help those who strive to be with Him both here and THERE, where He calls everyone to follow Him into the Kingdom of the Father, which people once left. Now, by His ascension, the Son of God, by His ascension, has opened the way by which we can return under the roof of the Father, and the words addressed to the Savior are heard at the festive bright service: Carrying the peace of the world, show the sons of men the deeds of Your power, O Lord, Lover of mankind.
Prayers before the image of the Savior ascending to heaven can completely change the life of anyone who is sincere in their request.
Ascension of the Lord is a great holiday for everyone Orthodox person. The icon of the Ascension can become the best protection your family: a holy image is able to protect the house from any, even the most terrible threat.
History of the icon
The most famous icon of the Ascension of the Lord belongs to the brush of Andrei Rublev. The icon painter created it in 1408 for the Assumption Cathedral in the city of Vladimir. Rublev painted the image of the Ascension of Jesus Christ in accordance with the history of the New Testament.
As stated in Holy Scripture, after the miracle of the Resurrection, the Lord spent another 40 days among his disciples. On the 40th day, he gathered everyone on the Mount of Olives and told the disciples that they would testify to the people about a new miracle.
The apostles who came saw the heavens open and angels appear, greeting their Lord. The Savior in the descending bright light rose above the earthly firmament and ascended into the Kingdom of Heaven, ending his earthly ministry. The voice of the angel consoled the apostles, telling them that the Savior would definitely return to earth when the time came.
Description of the icon of the Ascension of the Lord
The icon depicts the end of the earthly ministry of Jesus Christ. Having atoned for the sins of all people, the Son of God returns to the Kingdom of Heaven in his body, ascending above the disciples in an unearthly radiance.
In the upper part of the icon, angels are seen waiting for the Savior. This part of the image symbolizes the open Gates for everyone who is pure in heart and has been honored to receive the grace of the Lord.
The disciples, standing on the firmament, are watching the miracle revealed to them. Next to the apostles, the Mother of God is also depicted, who gave life to the Savior and thereby allowed sinners to have the opportunity to repent and enter the Kingdom of Heaven.
What do they pray to the holy icon
The image of the Savior ascending to heaven is a symbol eternal life and atonement for sins for every Orthodox person. Traditionally, it is customary to pray to the icon of the Ascension of the Lord for the remission of sins, the granting of God's mercy and change life path and Destiny in the direction of the true Orthodox faith.
The icon of the Ascension is able to strengthen the spiritual and bodily forces to help you find the strength of mind to follow your destiny. Prayers before the image of the Savior ascending to heaven can completely change the life of anyone who is sincere in their request.
The significance of the event of the Ascension of the Lord in Christian iconography is deeply revealed.
Already in the earliest icon-painting images of the Ascension (for example, on the doors of the church of St. Sabina in Rome), the image is divided into two parts: at the top - Christ in a halo, on four sides of Him - the symbols of the Evangelists: Eagle, Lion, Taurus, Angel.
Later icons began to depict four angels - this type became canonical.
In the lower part, the Mother of God Oranta, the holy apostles Peter and Paul were depicted. The heavenly world is clearly separated from the earthly. The sky is represented by the image of the Sun, Moon and stars.
This is a symbol of the cosmic significance of the event, for the Ascension of the Lord - the Ascension of His enlightened flesh - is taking place for the entire Universe.
The halo of the Ascension is framed by a wreath of laurel branches. It was perceived in the first centuries of Christianity as a symbol of victory and reward, for the laurel wreath crowned the winners of the Olympic Games. This is a symbol of the “crown of life”, about which the holy Apostle John the Theologian speaks in the Apocalypse: “Be faithful to Me until death, and I will give you the crown of life” (Rev. 2, 10). The monogram of the Savior was placed in the center of the wreath.
Subsequently, the wreath was replaced by a halo - a sign of the Uncreated Light of the Divine.
These symbols reflect the spiritual experience of the Holy Church, which created the sacred canons of the image, to help the soul in raising it to the Divine prototype.
The contemplation of these ancient images, as it were, forms the path from the visible to the invisible, from the image to the Prototype, helps to spiritually experience "the ascension of human nature from the external visible to the Creator of all things."
As Metropolitan Platon (Levshin) wrote, “everything in the Church is “spiritual”. Although many outward and visible actions take place in it, their main intention is not to touch or delight bodily feelings alone, and to end everything with one appearance, but their only intention and tension is to arouse our spiritual feelings and, lifting them up from bodily and earthly baseness, elevating them to spiritual heights.”
So church services, the beauty of icons, temples, sacred rites help us and testify to the boundless possibilities that face a person and allow him, following the Ascended "according to human nature" Christ, "to enter the place of the blessed, outside and above this world, the dwelling place of God, Angels and blessed people "(Festive Menaion).
And in all the icons of the Ascension, the ascending Christ is depicted in that glory and triumph in which he will come to judge the universe.
He is depicted sitting on the throne of glory, in bright clothes, enlightened by golden rays, as an assist, an image of divine forces-energies.
Both hands are raised for blessing, and not only the hands, but also the feet (this cannot be expressed graphically, but it is mentioned in the stichera of the feast).
The image of the Savior is enclosed in a mandrola, that is, in circles representing the celestial sphere, also usually filled with golden rays, diverging like the rays of the sun.
And the whole image of Christ is like the sun. The sun of truth burning above the earth.
The heavenly sphere with the image of the Savior on it is held by angels with their own hands, who are depicted as if carrying the heavenly circle and the Savior in it, sitting on the throne.
St. John Chrysostom speaks of the Ascension of the Savior in this way: “We gaze woe at heaven, at the very throne of the Church, there sits the Firstfruits from the Beginnings.
So the Son of God will come from heaven to judge us, and will not delay.
Our common Lord will come, leading armies with Himself, regiments of angels, a cathedral of archangels, a line of martyrs, faces of the righteous, a host of prophets and apostles, and among them, immaterially twisted, Himself as a King in inexpressible and ineffable glory.
And this visibility, the tangibility of the incarnate Word made it possible for the Church to have and honor the holy image of Christ.
The basis of the holy icon rests in the fact that: “The Word became flesh, and live with us, full of grace and truth” (John 1:14)
About this day, St. John Chrysostom speaks of the day when "God was reconciled with the human race, the long-term enmity ceased, some wondrous peace came, and we, who turned out to be unworthy of the earth, were taken up to heaven."
The Holy Church does not confine itself to clarifying the connection of this feast with the mystery of God's love and dispensation.
She calls us to ensure that we ourselves spiritually participate in this great celebration. “If Christ ascends to heaven,” says St. Gregory the Theologian, you, too, rise with Him; be among the angels accompanying or meeting him.”
The path to such an ascent is shown to us by the divine service of our feast. The Church calls us here to follow the apostles on this holy day in their journey that led them from Jerusalem to the Mount of Olives.
First of all, we need to remember that, having ascended to heaven, the Lord Jesus Christ did not leave us on earth with His love and care.
He created His Church here, to which, ten days after the Ascension, He sent the promised Holy Spirit, who has continuously inhabited it since then and through the holy sacraments sanctifies the faithful according to the word of the angel. He "will come in the same manner as they saw Him go up into heaven" (Acts 1:11).
Christ, having entered into the glory of God, sitting at the right hand of God and the Father, bears on His human flesh the wounds inflicted on Him by human sin. He still bears human infirmity on His shoulders.
All the sorrow of the earth, all the pain, all the horror fell on Christ, but He did not cast them off either by the Resurrection or by His Ascension in glory.
Christ remains the Lamb of God, before the creation of the world, slain for the salvation of the world.
He revealed to us our true nature, our true calling, the place where we are called, the right hand of God and the Father.
But this path is not easy, although the strength is not from us, but from God Himself. It is not by our own strength that we will ascend to Heaven, nor by our own strength will we find salvation.
Ascension of the Lord. Sacristy of the Trinity-Sergius Lavra
From century to century the Church is called to be the Body of Christ, broken for the salvation of mankind.
We are the Body of Christ, living, trembling: tortured and ulcerated for millennia, the Body of Christ, bearing, according to the word of the Apostle Paul, the wounds of the Savior.