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Transfiguration of Jesus
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Transfiguration of Jesus
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The Transfiguration by Raphael, c. 1520
15th-century Russian Orthodox icon by Theophanes the Greek
Events in the
Life of Jesus
according to the canonical gospels
Life of Jesus
Early life
Ministry
Passion
Resurrection
In rest of the New Testament
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The Transfiguration of Jesus is an event described in the New Testament where Jesus is transfigured and becomes radiant in glory upon a mountain.[1][2] The Synoptic Gospels (Matthew 17:1–8, Mark 9:2–13, Luke 9:28–36) recount the occasion, and the Second Epistle of Peter also refers to it.

In the gospel accounts, Jesus and three of his apostles, Peter, James, and John, go to a mountain (Mount Tabor, later referred to as the Mount of Transfiguration) to pray. On the mountaintop, Jesus begins to shine with bright rays of light. Then the Old Testament figures Moses and Elijah appear, and he speaks with them. Both figures had eschatological roles: they symbolize the Law and the prophets, respectively. Jesus is then called "Son" by the voice of God the Father, as in the Baptism of Jesus.[1]

Many Christian traditions, including the Eastern Orthodox, Catholic, Lutheran and Anglican churches, commemorate the event in the Feast of the Transfiguration, a major festival. In the original Koine Greek, the word μετεμορφώθη (metemorphōthē), "he was transformed" is used to describe the event in Matthew and Mark.[3] In Greek Orthodoxy, the event is called the metamorphosis.[4]

Significance

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The transfiguration is one of the miracles of Jesus in the Gospels.[2][5][6] Thomas Aquinas considers the transfiguration "the greatest miracle", in that it complemented baptism and showed the perfection of life in Heaven.[7] The transfiguration is one of the five major milestones in the gospel narrative of the life of Jesus, the others being baptism, crucifixion, resurrection, and ascension.[8][9] In 2002, Pope John Paul II introduced the Luminous Mysteries in the rosary, which include the transfiguration.

In Christian teachings, the transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place of the temporal and the eternal, with Jesus, as both true man and true God, serving the connecting point, acting as the bridge between heaven and earth.[10] Moreover, Christians consider the transfiguration to fulfill an Old Testament messianic prophecy that Elijah would return again after his ascension (Malachi 4:5–6). Gardner (2015, p. 218) states:

The very last of the writing prophets, Malachi, promised a return of Elijah to hold out hope for repentance before judgment (Mal. 4:5–6). ... Elijah himself would reappear in the Transfiguration. There he would appear alongside Moses as a representative of all the prophets who looked forward to the coming of the Messiah (Matt. 17:2–9; Mark 9:2–10; Luke 9:28–36). ... Christ's redemptive sacrifice was the purpose for which Elijah had ministered. ... And it was the goal about which Elijah spoke to Jesus in the Transfiguration.

New Testament accounts

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Georgian manuscript of Transfiguration in the Gospel of Mark, 1300

In the Synoptic Gospels, (Matthew 17:1–8, Mark 9:2–13, Luke 9:28–36), the account of the transfiguration happens towards the middle of the narrative.[11] It is a key episode and almost immediately follows another important element, the Confession of Peter: "you are the Christ" (Matthew 16:16, Mark 8:29, Luke 9:20).[1] The transfiguration narrative acts as a further revelation of the identity of Jesus as the Son of God to some of his disciples.[1][11]

In the gospels, Jesus takes Peter; James, son of Zebedee; and James' brother John with him and goes up to a mountain, which is not named. Once on the mountain, Matthew 17:2 states that Jesus "was transfigured before them; his face shining as the sun, and his garments became white as the light." At that point the prophet Elijah (representing the prophets) and Moses (representing the Law) appear and Jesus begins to talk to them.[1] Luke states that they spoke of Jesus' exodus (εξοδον) which he was about to accomplish in Jerusalem (Lk 9:31). Luke is also specific in describing Jesus in a state of glory, with Luke 9:32 referring to "they saw His glory".[12]

Just as Elijah and Moses begin to depart from the scene, Peter begins to ask Jesus if the disciples should make three tents for him and the two prophets. This has been interpreted as Peter's attempt to keep the prophets there longer.[12] But before Peter can finish, a bright cloud appears, and a voice from the cloud states: "This is my beloved Son, with whom I am well pleased; listen to him" (Mark 9:7). The disciples then fall to the ground in fear, but Jesus approaches and touches them, telling them not to be afraid. When the disciples look up, they no longer see Elijah or Moses.[1]

When Jesus and the three apostles are walking down the mountain, Jesus tells them to not tell anyone "the things they had seen" until the "Son of Man" has risen from the dead. The apostles are described as questioning among themselves as to what Jesus meant by "risen from the dead".[13]

In addition to the principal account given in the synoptic gospels; in 2 Peter 1:16–18, the Apostle Peter describes himself as an eyewitness "of his magnificence". Elsewhere in the New Testament, Paul the Apostle's reference in 2 Corinthians 3:18 to the "transformation of believers" via "beholding as in a mirror the glory of the Lord" became the theological basis for considering the transfiguration as the catalyst for processes which lead the faithful to the knowledge of God.[14][15]

Although Matthew 17 lists the disciple John as being present during the transfiguration, the Gospel of John has no account of it.[16][17] This has resulted in debate among scholars, some suggesting doubts about the authorship of the Gospel of John, others providing explanations for it.[16][17] One explanation (that goes back to Eusebius of Caesarea in the 4th century) is that John wrote his gospel not to overlap with the synoptic gospels but to supplement them, and hence he did not include all of their narrative.[16] Others believe that the Gospel of John does in fact allude to the transfiguration, in John 1:14.[18] This is not the only incident not present in the fourth gospel, and the institution of the Eucharist at the Last Supper is another key example, indicating that the author either was not aware of these narrative traditions, did not accept their veracity, or decided to omit them.[17] The general explanation is thus the Gospel of John was written thematically, to suit the author's theological purposes and has a less narrative style than the synoptics.[16][17]

Theology

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Importance

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Mosaic of the Transfiguration, Saint Catherine's Monastery, Mount Sinai

Christian theology assigns a great deal of significance to the transfiguration, based on multiple elements of the narrative. In Christian teachings, the transfiguration is a pivotal moment, and the setting on the mountain is presented as the point where human nature meets God: the meeting place for the temporal and the eternal, with Jesus as the connecting point, acting as the bridge between heaven and earth.[10]

The transfiguration not only supports the identity of Jesus as the Son of God (as in his baptism), but the statement "listen to him", identifies him as the messenger and mouth-piece of God.[19] The significance of this identification is enhanced by the presence of Elijah and Moses, for it indicates to the apostles that Jesus is the voice of God "par excellence", and instead of Moses or Elijah (representing the Law and the prophets) he should be listened to, surpassing the laws of Moses by virtue of his divinity and filial relationship with God.[19] 2 Peter 1:16–18 echoes the same message: at the Transfiguration God assigns to Jesus a special "honor and glory" and it is the turning point at which God exalts Jesus above all other powers in creation, and positions him as ruler and judge.[20]

The transfiguration also echoes the teaching by Jesus (as in Matthew 22:32) that God is not "the God of the dead, but of the living". Although Moses had died and Elijah had been taken up to heaven centuries before (as in 2 Kings 2:11), they now live in the presence of the Son of God, implying that the same return to life applies to all who face death and have faith.[21]

Historical development

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12th-century icon of the Transfiguration

The theology of the transfiguration received the attention of the Church Fathers from the earliest times. In the 2nd century, Irenaeus was fascinated by the transfiguration and wrote: "the glory of God is a live human being and a truly human life is the vision of God".[22] Origen's theology of the transfiguration influenced the patristic tradition and became a basis for theological writings by others.[23] Among other issues, given the instruction to the apostles to keep silent about what they had seen until the resurrection, Origen comments that the glorified states of the transfiguration and the resurrection must be related.[23]

The Desert Fathers emphasized the light of the ascetic experience and related it to the light of the transfiguration – a theme developed further by Evagrius Ponticus in the 4th century.[23] Around the same time Gregory of Nyssa and later Pseudo-Dionysius the Areopagite were developing a "theology of light" which then influenced Byzantine meditative and mystical traditions such as the Tabor light and theoria.[23] The iconography of the transfiguration continued to develop in this time period, and there is a 6th-century symbolic representation in the apse of the Basilica of Sant'Apollinare in Classe and a well known depiction at Saint Catherine's Monastery on Mount Sinai in Egypt.[24]

Byzantine Fathers often relied on highly visual metaphors in their writings, indicating that they may have been influenced by the established iconography.[25] The extensive writings of Maximus the Confessor may have been shaped by his contemplations on the katholikon at Saint Catherine's Monastery – not a unique case of a theological idea appearing in icons long before it appears in writings.[26]

In the 7th century, Maximus the Confessor said that the senses of the apostles were transfigured to enable them to perceive the true glory of Christ. In the same vein, building on 2 Corinthians 3:18, by the end of the 13th century the concept of "transfiguration of the believer" had stabilized and Gregory Palamas considered "true knowledge of God" to be a transfiguration of man by the Spirit of God.[27] The spiritual transfiguration of the believer then continued to remain a theme for achieving a closer union with God.[15][28]

One of the generalizations of Christian belief has been that the Eastern Church emphasizes the transfiguration while the Western Church focuses on the crucifixion. However, in practice both branches continue to attach significance to both events, although specific nuances continue to persist.[29] An example of such a nuance is the saintly signs of the Imitation of Christ. Unlike Catholic saints such as Padre Pio or Francis of Assisi (who considered stigmata a sign of the imitation of Christ) Eastern Orthodox saints have never reported stigmata, but saints such as Seraphim of Sarov and Silouan the Athonite have reported being transfigured by an inward light of grace.[30][31]

Connection to the resurrection

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Transfiguration by Alexandr Ivanov, 1824

Origen's initial connection of the transfiguration with the resurrection continued to influence theological thought long thereafter.[23] This connection developed both within the theological and iconographic dimensions – which however, often influenced each other. Between the 6th and 9th centuries the iconography of the transfiguration in the East influenced the iconography of the resurrection, at times depicting various figures standing next to a glorified Christ.[32]

Most commentators in the Middle Ages considered the transfiguration a preview of the glorified body of Christ following his resurrection.[33] As an example, in the 8th century, in his sermon on the transfiguration, the Benedictine monk Ambrosius Autpertus directly links the Supper at Emmaus appearance in Luke 24:39 to the transfiguration narrative of Matthew 17:2, and states that in both cases, Jesus "was changed to a different form, not of nature, but of glory."[33]

The concept of the transfiguration as a preview and an anticipation of the resurrection includes several theological components.[34] On one hand it cautions the disciples, and therefore the reader, that the glory of the transfiguration and the message of Jesus can only be understood in the context of his death and resurrection and not simply on its own.[34][35] When the transfiguration is considered an anticipation of the resurrection, the presentation of a shining Jesus on the mount of transfiguration as the Son of God who should be listened to can be understood in the context of the statement by Jesus in the resurrection appearance in Matthew 28:16–20: "all authority hath been given unto me in heaven and on earth".[35]

Presence of prophets

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The presence of the prophets next to Jesus and the perceptions of the disciples have been subject to theological debate. Origen was the first to comment that the presence of Moses and Elijah represented the "Law and the prophets", referring to the Torah (also called the Pentateuch) and the rest of the Hebrew Bible.[23] Martin Luther continued to see them as the Law and the Prophets respectively, and their recognition of and conversation with Jesus as a symbol of how Jesus fulfills "the law and the prophets" (Matthew 5:17–19, see also Expounding of the Law).[36]

More recently, biblical scholar Caleb Friedeman has argued that the appearance of Moses and Elijah together at the transfiguration was because both of them had witnessed similar theophanies at Mount Sinai. Friedeman asserts that, in light of both Old Testament theophanies, the transfiguration must be considered a theophany in which Jesus manifests his divinity.[37] The connection between the Mount Sinai/Horeb theophanies of both Moses and Elijah and their presence at the Transfiguration is also made by the New American Bible.[38]

The real presence of Moses and Elijah on the mount is rejected by those churches and individuals who believe in "soul sleep" (Christian mortalism) until resurrection. Several commentators have noted that the Gospel of Matthew describes the transfiguration using the Greek word horama (Matthew 17:9), according to Thayer more often used for a supernatural "vision" than for real physical events[a] and conclude that Moses and Elijah were not truly there.[39] In LDS doctrine, Moses and Elijah ministered to Christ as "spirits of just men made perfect" (Doctrine and Covenants 129:1–3; see also Hebrews 12:23).

Location of the mountain

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Main article: Mount of the Transfiguration
The Franciscan Church of the Transfiguration on Mount Tabor in Israel. Mount Tabor is traditionally identified as the Mount of Transfiguration.

None of the accounts identify the "high mountain" of the scene by name. Since the 3rd century, some Christians have identified Mount Tabor as the site of the transfiguration, including Origen,[40] referencing Ps 89:12. Tabor has long been a place of Christian pilgrimage and is the site of the Church of the Transfiguration. In 1868, Henry Alford cast doubt on Tabor due to the possible continuing Roman use of a fortress which Antiochus the Great built on Tabor in 219 BC.[41] Others have countered that even if Tabor was fortified by Antiochus, this does not rule out a transfiguration at the summit.[42] Josephus mentions in the Jewish War that he built a wall along the top perimeter in 40 days, and he does not mention any previously existing structures.[43][44] John Lightfoot rejects Tabor as too far but "some mountain near Caesarea-Philippi".[45] The usual candidate, in this case, is Mount Panium, Paneas, or Banias, a small hill situated at the source of the Jordan, near the foot of which Caesarea Philippi was built.

William Hendriksen in his commentary on Matthew (1973) favours Mount Meron.[46] Whittaker (1984) proposes that it was Mount Nebo, primarily on the basis that it was the location where Moses viewed the Promised Land and a parallelism in Jesus' words on descent from the mountain of transfiguration: "You will say to this mountain (i.e. of transfiguration), 'Move from here to there' (i.e. the promised land), and it will move, and nothing will be impossible for you." France (1987) notes that Mount Hermon is closest to Caesarea Philippi, mentioned in the previous chapter of Matthew. Likewise, Meyboom (1861) identifies "Djebel-Ejeik",[b] but this may be a confusion with Jabal el-Sheikh, the Arabic name for Mount Hermon. Edward Greswell, however, writing in 1830, saw "no good reason for questioning the ancient ecclesiastical tradition, which supposes it to have been mount Tabor."[47] An alternative explanation is to understand the Mount of Transfiguration as symbolic topography in the gospels. As Elizabeth Struthers Malbon notes, the mountain is figuratively the meeting place between God and humans.[48]

Feast and commemorations

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First Fruits brought to be blessed on the Feast of the Transfiguration (Japanese Orthodox Church)

Various Christian denominations celebrate the Feast of the Transfiguration. The origins of the feast remain uncertain; it may have derived from the dedication of three basilicas on Mount Tabor.[24] The feast existed in various forms by the 9th century. In the 15th century Pope Callixtus III made it a universal feast celebrated on August 6 to commemorate the lifting of the siege of Belgrade[49] in July 1456.

The Syriac Orthodox, Indian Orthodox and Revised Julian calendars within the Eastern Orthodox, Roman Catholic, Old Catholic, and Anglican churches mark the Feast of the Transfiguration on August 6. In those Orthodox churches which continue to follow the Julian Calendar, August 6 in the church calendar falls on August 19 in the civil (Gregorian) calendar. Transfiguration ranks as a major feast, numbered among the Twelve Great Feasts in the Byzantine rite. In all these churches, if the feast falls on a Sunday its liturgy is not combined with the Sunday liturgy, but replaces it.

In some liturgical calendars (e.g. the Lutheran and United Methodist) the last Sunday in the Epiphany season is also devoted to this event. In the Church of Sweden and the Evangelical Lutheran Church of Finland, however, the feast is celebrated on the seventh Sunday after Trinity (the eighth Sunday after Pentecost).

In the Roman rite, the gospel pericope of the transfiguration is read on the second Sunday of Lent – the liturgy emphasizes the role the transfiguration had in comforting the Twelve Apostles, giving them both a powerful proof of Christ's divinity and a prelude to the glory of the resurrection on Easter and the eventual salvation of his followers in view of the seeming contradiction of his crucifixion and death. The Preface for that day expounds this theme.[50]

Cultural echoes

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Several church buildings commemorate the Transfiguration in their naming. Note for example the Church of the Transfiguration of the Lord in Preobrazhenskoe [ru] – the original 17th-century church there gave its name to the surrounding village (Preobrazhenskoye – "Transfiguration [village]" near Moscow) which in turn became the namesake of Russia's pre-eminent Preobrazhensky ("Transfiguration") Regiment and of other associated names.

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Main article: Transfiguration of Jesus in Christian art

Paintings

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Icons

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Churches and monasteries

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See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

Transfiguration of Jesus

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The Transfiguration of Jesus is a key event in the , recounted in the , where ascends a high mountain with apostles Peter, James, and John, and there his appearance is dramatically transformed, radiating divine glory as his face shines like the sun and his clothes become dazzling white, while the figures of and appear alongside him in conversation. A bright then overshadows the scene, from which a divine voice proclaims as the beloved , commanding the disciples to listen to him, after which the vision ends with only remaining visible. This episode, occurring approximately six or eight days after ' prediction of his suffering and death, serves as a pivotal during his ministry, bridging his earthly life with eschatological glory. The accounts vary slightly in detail: and describe the event following "six days," while Luke notes "about eight days," and Luke uniquely specifies that Moses and Elijah discuss Jesus' impending "departure" (exodus) in Jerusalem, emphasizing his sacrificial role. Peter's impulsive suggestion to build three shelters—one for each figure—reflects a moment of awe and misunderstanding, interrupted by the divine voice echoing the baptism of Jesus but adding the imperative to heed him. The disciples' terror and Jesus' subsequent command to silence until after his resurrection underscore the event's confidentiality and its preparatory function for the Passion. Theologically, the Transfiguration reveals ' divine identity and the intrinsic glory veiled in his incarnate form, fulfilling theophanies such as the shining of ' face or the glory on , while and symbolize the and Prophets converging on Christ. It anticipates the and future kingdom, confirming as the Son of Man coming in glory and preparing the inner of disciples for his by affirming his ultimate vindication. An allusion appears in 2 Peter 1:16–18, where the apostle recounts witnessing ' majesty and the heavenly voice, bolstering the epistle's claim of eyewitness testimony to Christ's power. In , the event is commemorated on August 6 in both Eastern and Western churches, highlighting its enduring role in and .

Overview and Significance

Event Summary

The Transfiguration of Jesus is described in the as occurring shortly after Peter's confession that Jesus is the Messiah, approximately six days later in Matthew and Mark, or about eight days in Luke. Jesus takes his inner circle of disciples—Peter, James, and John—up a high mountain apart from the others, where the event unfolds during a moment of in Luke's account. There, Jesus is transfigured before them: his face shines like the sun, and his clothes become as white as light or dazzling beyond earthly bleaching, symbolizing a revelation of divine glory. Suddenly, and appear in glorious form and converse with about his impending departure in , as noted in Luke. The disciples witness this heavenly assembly, with Peter reacting in awe and fear by proposing to erect three shelters—one each for , , and —not fully grasping the significance of the moment. A bright cloud then overshadows the group, and a voice from the proclaims, "This is my , whom I love; with him I am well pleased. Listen to him!"—echoing the baptismal declaration but emphasizing obedience. The disciples fall facedown in terror, but touches them, reassuring them not to be afraid; upon looking up, they see only , with and having departed. As they descend the mountain, commands the three to tell no one of the vision until after has been raised from the dead, positioning the event just before his predictions of suffering and passion.

Core Theological Themes

The Transfiguration of Jesus serves as a profound of his divine identity, unveiling the glory inherent to his person that was temporarily veiled during his earthly ministry. In this event, Jesus' face shone like the sun and his clothes became dazzling white, manifesting the divine glory inherent to his person and providing a glimpse of the eschatological glory awaiting the redeemed. This disclosure underscores the continuity between Jesus' incarnate state and his eternal divine nature, prefiguring the ultimate transformation of believers in the kingdom of God. A central theme is the affirmation of Jesus as the fulfillment of the Law and the Prophets, symbolized by the appearance of and alongside him. , representing the , and , embodying prophetic tradition, converse with Jesus about his impending exodus in , indicating that his mission completes and surpasses the old covenant frameworks. This convergence highlights Jesus' role as the new Moses and greater , integrating and transcending Israel's scriptural heritage. The event emphatically declares Jesus' divine sonship through the heavenly voice proclaiming, "This is my beloved Son, with whom I am well pleased; listen to him," echoing his baptism and establishing his unique filial relationship with the Father. This affirmation distinguishes Jesus from the Mosaic and prophetic figures present, positioning him as the authoritative revealer of God's will to whom obedience is due. As a , the Transfiguration parallels the Sinai , where God's glory appeared in and , but it surpasses it by centering on ' intrinsic radiance rather than a mediated glory. Unlike , whose face temporarily shone from encountering , ' transfiguration reveals glory emanating from his own divine essence, marking a decisive escalation in divine self-disclosure. Finally, the Transfiguration bolsters the apostles' in the face of ' predicted and , offering reassurance of his ultimate victory and encouraging steadfastness amid trials. By witnessing this glimpse of glory immediately after foretellings of the passion, Peter, James, and John receive confirmation of ' messianic identity, fortifying their resolve to follow him through the .

Scriptural Accounts

Synoptic Gospel Narratives

The provides the earliest account of the Transfiguration, composed around 65-70 CE according to the widely accepted theory of Marcan priority, which posits that Mark served as a primary source for both Matthew and Luke. In Mark 9:2-8, the narrative begins "after six days" following Jesus' prediction of his suffering and resurrection at Caesarea Philippi (Mark 8:31), with Jesus taking Peter, James, and John up a high mountain where he is transfigured before them. His clothes become "dazzling white, whiter than anyone in the world could bleach them," and Elijah and Moses appear, conversing with Jesus. Peter, in terror and uncertainty, proposes building three shelters—one for Jesus, one for Moses, and one for Elijah—but a cloud overshadows them, and a voice from the cloud declares, "This is my Son, whom I love. Listen to him!" When the cloud lifts, only Jesus remains, and he charges the disciples to tell no one what they have seen until after the Son of Man has risen from the dead. Notably, this account lacks any description of the disciples prostrating themselves in fear or a specific command to arise, emphasizing instead the abrupt revelation and the disciples' stunned silence. The Gospel of Matthew, likely written between 80-90 CE and drawing on Mark, closely parallels this narrative in Matthew 17:1-8 but introduces distinct enhancements to underscore ' divine radiance and authority. The timing remains "after six days," with the same three disciples ascending a high mountain, where is transfigured: "his face shone like the sun, and his clothes became as white as the light." and appear and speak with him, prompting Peter's similar suggestion of shelters amid the disciples' awe. A bright then covers them, and the voice proclaims, "This is my Son, whom I love; with him I am well pleased. Listen to him!" Unlike Mark, the disciples here fall facedown in terror upon hearing the voice; touches them, saying, "Get up," and instructs, "Don't be afraid," before they look up to see no one but alone. These additions— the solar brilliance of ' face, the explicit , and the reassuring command—heighten the visual and emotional intensity, portraying a more structured epiphany of messianic glory. Luke's account in Luke 9:28-36, dated to around 80-90 CE and also reliant on Mark, shifts the emphasis to a context of and anticipates Jesus' impending passion, occurring "about eight days after" the Caesarea Philippi discourse, possibly inclusive of the endpoints to evoke a fuller week. Jesus ascends the mountain with Peter, John, and James to pray, during which "the appearance of his face changed, and his clothes became as bright as a flash of lightning"; and appear in glorious splendor, discussing "his departure [Greek: exodos], which he was about to bring to fulfillment at ." The disciples, initially overcome by sleep, fully awake to behold Jesus' glory and the two men standing with him; Peter again suggests three shelters as the men are parting from . A then envelops them, eliciting as they enter it, and the voice declares, "This is my Son, whom I have chosen; listen to him." The scene ends with only present, and the disciples remain silent, telling no one at that time. This version uniquely frames the event within and specifies the conversation's focus on Jesus' "departure" in , linking it to themes of fulfillment while describing the disciples' drowsy state as a transitional awakening to the revelation. Across the three Synoptic accounts, several core elements unify the narrative as a pivotal of ' identity. All describe an ascent to a high, unnamed mountain with the inner circle of disciples—Peter, James, and John—as witnesses; ' transfiguration into radiant glory; the sudden appearance of and conversing with him; an overshadowing cloud signifying ; and a heavenly voice affirming as God's beloved or chosen with the imperative to listen. Each concludes with the figures vanishing, leaving only , followed by his command to the disciples to maintain silence about the event until after his , underscoring its anticipatory role in storyline. Variations among the accounts reflect each evangelist's redactional emphases on ' messianic authority, often adapting Mark's framework for their audiences. Timing differs slightly—six days in Mark and Matthew versus eight in Luke—potentially to align with symbolic periods of preparation, while wording of the transfiguration varies: Mark stresses the clothes' impossible whiteness, Matthew adds facial radiance "like the sun," and Luke notes a change in facial appearance during with lightning-like brightness. The divine voice's phrasing evolves from Mark's concise "whom I love. Listen to him!" to Matthew's addition of "with him I am well pleased" and Luke's "whom I have chosen," each drawing on scriptural echoes to affirm ' unique sonship. Disciple reactions also diverge: Mark attributes Peter's words to sheer terror without physical collapse, Matthew depicts prostration and divine reassurance, and Luke portrays initial sleepiness evolving into fear upon entering the cloud. These adaptations highlight Mark's raw, immediate portrayal, Matthew's luminous authority, and Luke's prayerful, destiny-oriented focus, collectively reinforcing the event's centrality to ' mission without altering the foundational sequence.

References in Epistles

The Transfiguration of Jesus is referenced explicitly only in the Second Epistle of Peter among the epistles, underscoring its unique role in Petrine tradition. In 2 Peter 1:16–18, the author, identifying as the apostle Peter, presents an eyewitness account of the event to affirm the reality of Christ's power and coming. The passage states: "For we did not follow cleverly devised myths when we made known to you the power and coming of our Christ, but we were eyewitnesses of his majesty. For when he received honor and glory from , and the voice was borne to him by the Majestic Glory, 'This is my beloved Son, with whom I am well pleased,' we ourselves heard this very voice borne from , for we were with him on the holy mountain." This description echoes the Synoptic Gospel narratives by highlighting Jesus' transfigured appearance in "majestic glory" and the divine voice from , positioning the event as a direct encounter with heavenly reality. The primary purpose of this epistolary reference is to validate apostolic authority against false teachers who dismissed eschatological promises as fabrications. By invoking the Transfiguration as a sensory shared with fellow apostles, Peter contrasts the apostles' firsthand with the "cleverly devised myths" propagated by opponents, thereby grounding Christian in historical rather than speculative . This appeal serves to bolster the credibility of the proclaimed "power and coming" of Christ, portraying the Transfiguration as a preview of his future glory and a bulwark against regarding the Parousia. The passage further connects the Transfiguration to the fulfillment of prophecy, emphasizing the reliability of prophetic scripture. Peter declares that the voice heard on the mountain confirms the prophetic word, linking the event to divine through prophets and urging believers to heed it as a "lamp shining in a dark place." This integration portrays the Transfiguration not merely as an isolated but as a pivotal affirmation of scriptural continuity, where the apostolic experience verifies the enduring of God's spoken word across testaments. Notably absent from the , where the Transfiguration event itself receives no direct mention—unlike the metaphorical use of transformation in 2 Corinthians 3:18—this reference highlights the distinctive emphasis within Petrine writings on experiential testimony to Christ's divine identity. The focus in 2 Peter reflects a prioritizing Peter's role as a key , differentiating it from Paul's broader christological emphases on and .

Theological Interpretations

In the Transfiguration accounts, and appear alongside , symbolizing the and the Prophets, respectively, thereby linking the event to the foundational elements of Jewish scripture and affirming ' fulfillment of traditions. , as the lawgiver who received the at Sinai, evokes the described in Exodus 24, where he ascends the mountain amid a of God's glory and witnesses divine revelation, paralleling the Transfiguration's mountaintop setting and radiant manifestation. Similarly, ' garments becoming "dazzling white" (Mark 9:3) echoes the priestly holiness symbolized by the fine white linen tunics prescribed for and his sons in Exodus 28, signifying ritual purity and divine consecration. Elijah's presence represents the prophetic tradition, particularly as the prophet whose return was anticipated before the "great and dreadful day of the Lord" according to 4:5, associating him with eschatological fulfillment and the restoration of covenant relationships. His ascension to in a (2 Kings 2:11) further underscores themes of divine , mirroring the Transfiguration's of heavenly glory and hinting at Elijah's role in end-times events. The Gospel of Luke specifies that and discussed with "his departure [exodos], which he was about to accomplish at " (:31), intentionally evoking narrative of Israel's deliverance from bondage and tying ' impending passion to themes of liberation and redemption. This conversation highlights the Transfiguration as a pivotal moment bridging promises and their realization in . The presence of these three figures also draws on the motif from Hebrew scripture, where exalted beings convene in God's presence (e.g., Psalm 82), but here it serves to affirm ' superiority: the cloud's voice declares him the beloved Son to be heard (Mark 9:7), and and subsequently vanish, emphasizing his preeminence over these revered predecessors.

Foreshadowing the Resurrection

The Transfiguration presents in a glorified state, with his garments becoming dazzling white, which anticipates the radiant appearance of his post- body as described in the . This luminous transformation, where "his clothes became dazzling white, whiter than anyone in the world could bleach them" (Mark 9:3), echoes the visionary depictions of divine glory in , such as the white robes symbolizing purity and exaltation in Revelation 7:9–14. Scholars interpret this as a temporary unveiling of Christ's eternal glory, prefiguring the bodily where believers will share in similar transfigured splendor (2 Peter 1:16–18). In the , the Transfiguration narrative is strategically placed immediately following ' predictions of his impending suffering and death, providing reassurance to the disciples amid foretold trials. For instance, in Mark, it occurs six days after the first passion prediction (:31), serving as a glimpse of future vindication to bolster during the journey to the . This positioning underscores the event's role in offering hope, revealing that the path of humiliation leads to exaltation and glory. The divine voice at the Transfiguration, declaring "This is my , whom I love; with him I am well pleased. Listen to him!" (Matthew 17:5), commissions the disciples for their mission and parallels the authoritative affirmations in appearances, such as the (:18–20). This auditory revelation reinforces ' identity and authority, bridging the transfigured moment to the post-resurrection mandate for evangelism and discipleship. In Eastern Orthodox theology, the Transfiguration is viewed as a partial revelation of Christ's deified humanity, inviting believers toward theosis, or divine participation, as the ultimate fulfillment of resurrection life. It demonstrates how Christ's human nature is fully united with divinity, offering a foretaste of the glorified state that all creation will attain through union with God (Colossians 2:9). This perspective emphasizes the event as a promise of humanity's transformation into the likeness of the risen Christ.

Development in Church Fathers

Early interpretations of the Transfiguration by the emphasized its allegorical and spiritual dimensions. In the third century, , in his Commentary on Matthew, interpreted the event allegorically as emblematic of the soul's ascent to divine vision, where the disciples' experience of Jesus' transfigured body and garments symbolizes the biblical interpreter's progressive spiritual journey toward comprehending Christ's divinity. By the fourth century, Gregory of Nyssa developed this theme further, linking the Transfiguration to theosis, or human deification, through participation in the divine light. In works such as The Life of Moses, he portrayed the event as a theophany revealing God's infinite essence, where the apostles' vision of Christ's radiant glory lifts the veil from human perception, enabling a transformative union with divine energies that initiates endless spiritual ascent (epektasis) toward likeness with God. Gregory emphasized that this light, encountered in the Transfiguration, dazzles yet invites humanity into luminous darkness, signifying incomprehensible divine mystery while fostering participation in God's nature via grace and virtue. In the late fifth or early sixth century, integrated the Transfiguration into his framework of hierarchical mysticism and celestial order. In The Divine Names, he described participation in Christ's spiritual light during the event as a gift enabling union beyond intellect, mediated through the hierarchies of heavenly beings that reflect and transmit downward. His Celestial Hierarchy portrays such revelations as structured ascents, where the Transfiguration exemplifies how divine lights emanate from Christ to purify, illuminate, and perfect participants within the cosmic order. Medieval theology, particularly in the West, balanced literal and spiritual readings. , in the thirteenth century, affirmed the Transfiguration as a literal historical event in which Christ assumed the clarity of glory without altering His substance, as detailed in Summa Theologiae (III, q. 45). He interpreted it spiritually as a foretaste of heavenly perfection for the disciples, strengthening them amid impending , while engaging multiple senses—sight through radiance, hearing via the divine voice—to convey both historical reality and eschatological promise. A notable emerged between Eastern and Western traditions regarding the nature of the Transfiguration's light, culminating in Byzantine . In the fourteenth century, Eastern theologians like defended the light as uncreated divine energy, accessible through contemplative prayer (), distinguishing it from God's while affirming direct participation, as seen in the apostles' experience on . This contrasted with Western scholastic views, often emphasizing created effects or symbolic interpretations, highlighting a broader East-West theological rift over divine-human communion.

Geographical and Historical Context

Traditional Mountain Sites

The traditional identification of the mountain associated with the Transfiguration of centers primarily on in , a site venerated by early Christian pilgrims as early as the fourth century. This tradition gained prominence through the writings of , including , who in his Catechetical Lectures (Lecture 12, ca. 348 CE) explicitly described the event occurring on , stating that and were present with there during his transfiguration before speaking of his impending death in . By the late sixth century, a pilgrim from documented the existence of three basilicas on the summit, likely commemorating the "three tabernacles" proposed by Peter in the Gospel accounts, reflecting established devotional practices at the site. However, 's relatively low elevation of approximately 588 meters and its location in the , somewhat distant from the northern regions of ' ministry near Caesarea Philippi, have been noted as potential inconsistencies with the scriptural description of a "high mountain." An alternative early tradition linked the Transfiguration to , located on the northern border of ancient and rising to 2,814 meters, which aligns more closely with the context following Jesus' journey toward Caesarea Philippi. of Caesarea (d. 339 CE), in his geographical and scriptural interpretations, favored for the event, drawing on :13 ("Tabor and Hermon rejoice in your name") to associate the site with divine manifestation, though he did not explicitly connect it to the Transfiguration in his Onomasticon. The mountain's snow-capped peaks, often visible year-round, have been seen as evoking the luminous imagery of Jesus' transfigured glory in the narratives. Despite this, the Hermon tradition remained less dominant in pilgrimage and liturgical development compared to Tabor, which became the focal point for subsequent constructions and feast observances by the Byzantine period.

Scholarly Debates on Location

Scholars have long debated the precise location of the Transfiguration, with the primary contention centering on in versus in the northern Anti-Lebanon range. Proponents of emphasize its geographical proximity to Caesarea Philippi, the site of Peter's confession in Matthew 16:13–20, as the Transfiguration narrative immediately follows this event in the (Matthew 17:1–9; Mark 9:2–10; :28–36), suggesting a journey of no more than a day's travel northward. Hermon's elevation, exceeding 2,800 meters (over 9,000 feet), aligns with the biblical description of a "high mountain" suitable for seclusion, and its seasonal conditions—potentially including lingering snow or dew in summer—echo symbolic imagery like the "dew of Hermon" in Psalm 133:3, evoking divine blessing. This view gained traction in 20th-century scholarship, such as Alfred Edersheim's analysis in The Life and Times of Jesus the Messiah (1883, reprinted 2003), which prioritizes narrative continuity over later traditions. Critiques of as the site highlight its unsuitability for an isolated revelatory event. At approximately 588 meters (1,929 feet), Tabor is relatively modest in height compared to other regional peaks, and historical records indicate it was a fortified settlement during the first century CE. Flavius, in his (section 37), describes fortifying Mount Tabor with walls and a during the First Jewish-Roman War (66–73 CE), underscoring its role as a populated strategic point rather than a remote retreat. This urbanization contradicts accounts of a private ascent with only Peter, James, and John. While Tabor's traditional identification dates to the fourth century CE, modern scholars like Rebecca Lynne Sybrowsky argue that such claims lack first-century evidential support and ignore the geographical logic of the Caesarea Philippi context. Archaeological investigations reveal no direct first-century evidence linking either mountain to the Transfiguration, though later structures reflect evolving traditions. On , ruins of a Byzantine from the fourth to sixth centuries CE, including octagonal foundations possibly commemorating the event, indicate early Christian , later expanded by Crusader-era churches in the . , by contrast, features numerous Hellenistic and Roman-period temples, such as the first- to fourth-century CE sanctuary at Qasr ash-Shabib, suggesting a pre-Christian sacred that may have influenced the site's symbolic resonance but offers no Christian artifacts from ' era. These findings underscore the debates' reliance on textual and topographical analysis rather than material proof. Alternative proposals, such as (also known as Jabal al-Jarmaq or Jebel Jermaq) near , have received limited scholarly attention. Early 20th-century biblical geographer W. Ewing suggested Meron in the International Standard Bible Encyclopedia (1915), citing its height (about 1,208 meters) and position in as a viable "high mountain" en route from Caesarea Philippi, but this view has not gained widespread acceptance due to weaker narrative ties. In 21st-century scholarship, figures like have reinforced the Hermon hypothesis in Reversing Hermon (2017), integrating it with broader biblical motifs of divine reclamation of sacred spaces, though remains absent. Overall, the debate persists without consensus, balancing geographical plausibility against historical tradition.

Liturgical Observance

Eastern Christian Practices

In the , the Feast of the Transfiguration is celebrated on August 6, commemorating the divine revelation of Christ's glory to his disciples on . This major feast, one of the Twelve Great Feasts, centers on the , during which the faithful participate in the to encounter the transfiguring light of Christ. A key ritual is the blessing of the , particularly grapes and other summer produce, brought to the church after the Liturgy; this practice, documented since the , symbolizes the renewal and sanctification of all creation through Christ's divine energy, transforming earthly gifts into signs of the eschatological harvest. Hymnography plays a central role in the feast's liturgical expression, with the troparion in Tone 7 proclaiming, "You were transfigured on the mountain, O Christ God, revealing Your glory to Your disciples as far as they could bear it. Let Your everlasting light shine upon us sinners!" This hymn underscores the partial revelation of divine glory accessible to humanity. The kontakion complements it by reflecting on the disciples' vision of Christ's radiance: "On the Mountain You were Transfigured, O Christ God, and Your disciples beheld Your glory as far as they could see it; so that when they would see You crucified, they would understand that Your suffering was of Your own will, and would testify to the world that You are truly the manifestation of the Father." These hymns, sung during Vespers, Matins, and the Liturgy, emphasize the mystical illumination and voluntary nature of Christ's passion. Monastic traditions amplify the feast's mystical dimension, particularly in hesychastic spirituality, where the Transfiguration exemplifies the vision of the uncreated light—God's eternal energies experienced through prayer. On , the holy mountain of Orthodox , communities such as Great hold all-night vigils on the eve, with monks and pilgrims ascending to the peak's Transfiguration Chapel for services that invoke the Tabor light, fostering theosis or deification. Hesychast prayer, involving the repeated in inner stillness, links directly to this event, as practitioners seek the same uncreated light that transfigured Christ, leading to personal illumination and union with the divine. The feast's is deeply integrated into Eastern and calendars, with the canonical icon of the Transfiguration serving as a visual that depicts Christ in a of uncreated light, flanked by and , while the disciples react in awe below. These icons, often displayed prominently in churches on and venerated during processions, reinforce the liturgical narrative and invite contemplation of divine glory; they appear in menaia (monthly liturgical books) and festal calendars as focal points for the day's observances, embodying the Orthodox emphasis on the incarnational and transformative aspects of the event.

Western Christian Commemorations

In the Roman Catholic tradition, the Feast of the Transfiguration is observed on August 6, a date shared with the Eastern Orthodox Church, commemorating the event as described in the Synoptic Gospels. The liturgy, as outlined in the Roman Missal, includes readings from the Book of Daniel (7:9-10, 13-14), the Second Letter of Peter (1:16-19), and the Gospel of Luke (9:28b-36), which emphasize the divine majesty witnessed by the apostles and the prophetic fulfillment in Christ. Homilies during this feast often focus on discipleship, highlighting how the revelation of Jesus' glory strengthened Peter, James, and John to follow him through suffering and the cross, urging contemporary believers to listen to his voice amid trials. Anglican churches, following the , commemorate the Transfiguration both on as a principal feast and on the Last Sunday after the Epiphany as a movable observance, integrating it into the liturgical cycle to bridge Epiphany's revelation themes with Lent's penitential focus. The collect prayer invokes God's strength for disciples to "hear his voice and bear our ," underscoring transformation through Christ's glory. Sermons in this tradition frequently explore the interplay of divine glory and human suffering, portraying the event as a foretaste of hope that equips believers for endurance in adversity. Post-Reformation Protestant traditions, including Lutheran and Reformed, shifted emphasis toward the Transfiguration's role as scriptural witness to Christ's divinity and the apostles' eyewitness testimony, as articulated by in his sermons linking the event to bodily resurrection and Trinitarian revelation. In Lutheran calendars, such as the Lutheran Church–Missouri Synod's one-year , it is observed on the Sunday before (e.g., March 2 in 2025), providing hope amid repentance. Reformed worship places it as Transfiguration Sunday at the end of Epiphany, connecting mountaintop glory to the descent toward the cross and paralleling Lenten themes of suffering leading to exaltation. While not universally obligatory, these observances remain optional or integrated into broader cycles in many Protestant denominations, prioritizing biblical exposition over fixed feasts. In modern ecumenical contexts, dialogues among Western Christian bodies highlight the Transfiguration's shared significance as a unifying symbol of Christ's divine-human nature and call to transformative faith, fostering discussions on liturgical harmonization despite varying dates.

Cultural and Artistic Representations

Depictions in Visual Art

The earliest surviving depiction of the Transfiguration is the 6th-century in the of the Transfiguration Basilica at on , part of the basilica constructed during the reign of Emperor around 548–565 CE. This artwork presents Christ centrally within a , elevated above and on either side, with the apostles Peter, James, and John positioned below in a hierarchical arrangement that underscores Christ's divine supremacy over the prophets and disciples. Light rays radiate from Christ to the five figures, labeled in Greek as , the apostle John, Peter, James, and , symbolizing the transmission of divine illumination during the event. The conch-shaped , gilded to evoke the , frames the scene as a vision of heavenly transformation, marking this as the oldest known representation of the biblical episode. Byzantine art extensively featured the Transfiguration in mosaics, exemplified by the 11th-century work in the church of Monastery in , , dating to the Middle Byzantine period around 1010–1020 CE. These mosaics employ shimmering gold tesserae as backgrounds to evoke the uncreated and glory of the Transfiguration, with Christ depicted in a luminous flanked by the ethereal figures of and , while the apostles appear grounded and reverent below. The gold's reflective quality, achieved through glass and metallic tiles, creates an ethereal glow that draws viewers into the mystical revelation, aligning with of theosis. Such compositions influenced later , emphasizing the event's role in foreshadowing Christ's . In , di Buoninsegna's Transfiguration panel from the Maestà (1308–1311), originally for , highlights the emotional turmoil of the apostles through expressive gestures and facial expressions of awe, fear, and prostration as they witness the radiant Christ between and . The panel's narrative focus on human reaction—Peter shielding his eyes, James and John kneeling in wonder—conveys the overwhelming impact of divine encounter, rendered in on wood with intricate detailing to denote sanctity. This Sienese innovation blended Byzantine influences with emerging naturalism, prioritizing affective piety in the viewer's devotion. The Renaissance elevated the subject through dynamic compositions, as seen in Raphael's Transfiguration (1516–1520), an oil painting intended for the high altar of but now in the Vatican's Pinacoteca. The upper register captures the Transfiguration with dramatic, overpowering light bursting from Christ in a triangular formation with and , while the apostles below shield their eyes in stunned reverence; the lower register depicts the disciples' failed , with figures in contorted, fainting poses amid tenebristic shadows that heighten emotional intensity and contrast divine transcendence with human limitation. Raphael's masterful use of and perspective synthesized classical ideals with , making this his final, testamentary work. Baroque interpretations intensified emotional and luminous effects, building on earlier traditions while incorporating heightened drama, though specific Transfiguration examples like those by or Tiepolo emphasize swirling clouds and ecstatic expressions to immerse viewers in the glory. Depictions in non-Christian art are exceedingly rare due to aniconic prohibitions in Islamic and Jewish traditions, but occasional interfaith dialogues have inspired modern or illuminated representations, such as abstract interpretations in contemporary Jewish artists' works exploring shared prophetic themes or subtle allusions in Persian miniatures referencing (Isa) as a luminous figure. These serve as bridges in ecumenical contexts rather than devotional icons.

Influences in Literature and Music

In patristic literature, the Transfiguration profoundly influenced theological reflections on as a manifestation of grace. , in his 56 on the Gospel of Matthew, describes Christ's face shining "as the sun" and his raiment "white as the light," interpreting this radiance as a glimpse of divine glory that overwhelms the disciples and prepares them for the passion, symbolizing the uncreated light of grace available to the faithful. Medieval poetry drew extensively on the Transfiguration to evoke themes of divine glory and human deification. In Dante Alighieri's Paradiso, the event serves as a structural and thematic center, particularly in cantos 14–18, where the vision of Christ's light transfigures history and souls, mirroring the Tabor revelation and elevating the pilgrim's ascent toward beatific understanding. The Transfiguration has inspired numerous hymns across Christian traditions, emphasizing Peter's exclamation of awe. In , the hymn "'Tis Good, Lord, to Be Here," with text by Joseph Armitage Robinson, captures the disciples' ecstasy on the mount, portraying Christ's transfigured light as an invitation to eternal communion, often sung during the feast. In Eastern Orthodox practice, stichera for the feast, such as those in Tone IV, invite believers to "go up with Who ascendeth the high mountain" and behold the , while the magnification honors "the most glorious transfiguration of Thy most pure flesh." Classical and modern musical compositions have frequently explored the Transfiguration's luminous . Olivier Messiaen's La Transfiguration de Notre Seigneur Jésus-Christ (1965–1969), scored for orchestra, choir, and soloists, meditates on the event through ecstatic, color-infused harmonies, depicting the divine filiation and uncreated light as a foretaste of . In the 20th century, John Tavener's Ikon of Light (1984), commissioned for , draws directly from Orthodox theology of the Transfiguration, using ritualistic structure to evoke the "uncreated light" of Tabor—symbolized by distant strings yearning for choral glory—culminating in the and an epiphany of divine . Modern literature echoes the Transfiguration in narrative transformations, particularly in C.S. Lewis's . In , Aslan's intervention on the mountainous Dragon Isle to shed Eustace's dragon skin parallels Christ's revelation of glory, integrating natural icons of light and landscape to signify spiritual renewal and divine encounter.

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