Gambar dari Edessa: Perbedaan antara revisi
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[[Berkas:Abgarwithimageofedessa10thcentury.jpg|jmpl|ka|Menurut legenda, Raja [[Abgar V of Edessa|Abgar]] menerima "Gambar dari Edessa", yang memuat gambar wajah [[Yesus]].]] |
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'''Gambar dari Edessa''' ({{lang-en|Image of Edessa}}) menurut tradisi [[Kristen]] adalah [[relikwi]] kudus yang berupa kain berbentuk bujursangkar atau persegi panjang yang secara ajaib memuat cetakan wajah [[Yesus]]. Merupakan "ikon" ("gambar") pertama. Dalam [[gereja Ortodoks Timur]] dan juga dalam bahasa Inggris, gambar ini dikenal sebagai "''Mandylion''". |
'''Gambar dari Edessa''' ({{lang-en|Image of Edessa}}) menurut tradisi [[Kristen]] adalah [[relikwi]] kudus yang berupa kain berbentuk bujursangkar atau persegi panjang yang secara ajaib memuat cetakan wajah [[Yesus]]. Merupakan "ikon" ("gambar") pertama. Dalam [[gereja Ortodoks Timur]] dan juga dalam bahasa Inggris, gambar ini dikenal sebagai "''Mandylion''". |
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According to the legend, King [[Abgar V|Abgar of Edessa]] wrote to Jesus, asking him to come cure him of an illness. Abgar received a reply letter from Jesus, declining the invitation, but promising a future visit by one of his disciples. This legend was first recorded in the early 4th century by [[Eusebius of Caesarea]],<ref>Eusebius, ''[[Church History (Eusebius)|Historia Ecclesiae]]'' 1.13.5 and .22.</ref> who said that he had transcribed and translated the actual letter in the Syriac chancery documents of the king of Edessa, but who makes no mention of an image.<ref>Steven Runciman, "Some Remarks on the Image of Edessa", ''Cambridge Historical Journal'' '''3'''.3 (1931:238-252), p. 240</ref> Instead, the [[Seventy Disciples|apostle]] "[[Thaddeus of Edessa|Thaddaeus]]" is said to have come to Edessa, bearing the words of Jesus, by the virtues of which the king was miraculously healed. |
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Menurut legenda, ketika Konon [[Yesus]] [[Kristus]] masih hidup, seorang raja bernama [[Abgar V|Abgar]], penguasa [[Edessa]], menderita penyakit kusta yang teramat parah. Mendengar tentang mukjizat Yesus Kristus yang bisa menyembuhkan berbagai macam penyakit, sang raja berkehendak untuk melihat rupa sang [[Juru selamat]]. Raja Abgar mengutus seorang pelukis agar dapat melukis wajah Kristus untuk dirinya. Namun si pelukis tidak dapat menunaikan perintah dari Raja Abgar. Kuas si pelukis tidak dapat menuangkan wajah [[Kristus]] yang bercahaya ke dalam lukisannya. Pada saat itu, setelah membasuh muka, sang [[Juru selamat]] mengusapkan handuk ke wajah-Nya dan di lembaran kain tersebut secara ajaib tergambarlah wajah suciNya. Begitu menerima lukisan ajaib ini, Raja Abgar sembuh total dari penyakitnya. Legenda lain mengatakan bahwa raja Abgar mengirim surat meminta agar [[Yesus]] bersedia datang untuk menyembuhkan, tetapi menerima surat balasan bahwa undangannya ditolak, tetapi [[Yesus]] menjanjikan salah satu murid-Nya akan mengunjunginya kelak. Legenda ini pertama kali dicatat pada abad ke-4 oleh [[Eusebius dari Kaisarea]],<ref>Eusebius, ''[[Church History (Eusebius)|Historia Ecclesiae]]'' 1.13.5 and .22.</ref> yang menulis bahwa ia telah menyalin dan menerjemahkan surat asli dalam dokumen arsip dalam [[bahasa Suryani]] dari raja Edessa, tetapi tidak menyinggung mengenai adanya gambar.<ref>Steven Runciman, "Some Remarks on the Image of Edessa", ''Cambridge Historical Journal'' '''3'''.3 (1931:238-252), p. 240</ref> Dikisahkan bahwa [[Tujuh puluh murid|rasul]] "[[Thaddeus of Edessa|Thaddaeus]]" dikatakan telah datang Edessa, membawa perkataan Yesus, yang secara ajaib menyembuhkan penyakit raja itu. |
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The report of an image, which accrued to the legendarium of Abgar, first appears in the [[Syriac]] work, the ''[[Doctrine of Addai]]'': according to it, the messenger, here called Ananias, was also a painter, and he painted the portrait, which was brought back to Edessa and conserved in the royal palace.<ref>Runciman 1931, ''loc. cit.''.</ref> |
The report of an image, which accrued to the legendarium of Abgar, first appears in the [[Syriac]] work, the ''[[Doctrine of Addai]]'': according to it, the messenger, here called Ananias, was also a painter, and he painted the portrait, which was brought back to Edessa and conserved in the royal palace.<ref>Runciman 1931, ''loc. cit.''.</ref> |
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The first record of the existence of a physical image in the ancient city of [[Edessa, Mesopotamia|Edessa]] (now [[Urfa]]) was in [[Evagrius Scholasticus]], writing about 593, who reports a portrait of Christ, of divine origin (θεότευκτος), which effected the miraculous aid in the defence of Edessa against the Persians in 544.<ref>Evagrius, in [[Migne]], ''Patrologia Graeca''lxxxvi, 2, cols. 2748f, noted by Runciman 1931, p. 240, note 5; remarking that "the portrait of Christ has entered the class of [[Acheiropoieta|αχειροποίητοι]] icons".</ref> The image was moved to [[Constantinople]] in the 10th century. The cloth disappeared from Constantinople during the [[Sack of Constantinople]] in 1204, during the [[Fourth Crusade]], and by some believed to be reappearing as a relic in King [[Louis IX of France]]'s [[Sainte-Chapelle]] in [[Paris]]. This relic disappeared in the [[French Revolution]].<ref name="artnet1931">Two documentary inventories: year 1534 (Gerard of St. Quentin de l'Isle, Paris) and year 1740. See [http://www.artnet.com/library/05/0537/T053734.asp Grove Dictionary of Art], [http://links.jstor.org/sici?sici=1474-6913(1931)3%3A3%3C238%3ASROTIO%3E2.0.CO%3B2-6 Steven Runciman, Some Remarks on the Image of Edessa, Cambridge Historical Journal 1931], and [http://www.shroud.com/pdfs/n56part5.pdf Shroud.com] for a list of the group of relics. See also [http://histor.ws/grabtuch/bild/saintchapel.gif an image of the Gothic reliquary dating from the 13th century], in [http://histor.ws/grabtuch/geschichte02.htm Histor.ws].</ref> |
The first record of the existence of a physical image in the ancient city of [[Edessa, Mesopotamia|Edessa]] (now [[Urfa]]) was in [[Evagrius Scholasticus]], writing about 593, who reports a portrait of Christ, of divine origin (θεότευκτος), which effected the miraculous aid in the defence of Edessa against the Persians in 544.<ref>Evagrius, in [[Migne]], ''Patrologia Graeca''lxxxvi, 2, cols. 2748f, noted by Runciman 1931, p. 240, note 5; remarking that "the portrait of Christ has entered the class of [[Acheiropoieta|αχειροποίητοι]] icons".</ref> The image was moved to [[Constantinople]] in the 10th century. The cloth disappeared from Constantinople during the [[Sack of Constantinople]] in 1204, during the [[Fourth Crusade]], and by some believed to be reappearing as a relic in King [[Louis IX of France]]'s [[Sainte-Chapelle]] in [[Paris]]. This relic disappeared in the [[French Revolution]].<ref name="artnet1931">Two documentary inventories: year 1534 (Gerard of St. Quentin de l'Isle, Paris) and year 1740. See [http://www.artnet.com/library/05/0537/T053734.asp Grove Dictionary of Art], [http://links.jstor.org/sici?sici=1474-6913(1931)3%3A3%3C238%3ASROTIO%3E2.0.CO%3B2-6 Steven Runciman, Some Remarks on the Image of Edessa, Cambridge Historical Journal 1931], and [http://www.shroud.com/pdfs/n56part5.pdf Shroud.com] for a list of the group of relics. See also [http://histor.ws/grabtuch/bild/saintchapel.gif an image of the Gothic reliquary dating from the 13th century], in [http://histor.ws/grabtuch/geschichte02.htm Histor.ws].</ref> |
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Ikon Suci ini pada awalnya dipasang di gerbang kota, tetapi tidak berapa lama kemudian ikon ini ditutup dengan genting atas pertimbangan akan maksud jahat orang-orang munafik. Saat pasukan Persia mengepung Edessa, Bunda Maria muncul dalam mimpi Uskup Kota, dan memerintahkan agar Ikon Juru Selamat diarak mengelilingi tembok kota. Dengan ini, pada akhirnya musuh berhasil diusir. |
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Penguasa Bizantium memindahkan Ikon Suci ini ke ibu kota Konstantinopel. Namun saat Konstantinopel diduduki oleh Pasukan Orde Salib, ikon ini tentunya mereka kuasai, dan sampai sekarang tidak diketahui nasibnya. |
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Replika Ikon ini sangat dicintai di Ranah Rusia. Di Moscow, ikon ajaib ini sempat berada di Kremlin, yaitu di “Kathedral Uspenskiy”, kemudian dipindahkan ke biara Novospassky. Ikon ini menunjukkan mukjizatnya saat terjadi kebakaran hebat dan merajalelanya wabah kolera di Moscow. Di zaman modern, Wajah Suci Juru Selamat selalu dicantumkan di panji-panji bendera pasukan Rusia. |
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| ⚫ | The [[provenance]] of the Edessa letter between the 1st century and its location in his own time are not reported by Eusebius. The materials, according to the scholar [[Robert Eisenman]], "are very widespread in the Syriac sources with so many multiple developments and divergences that it is hard to believe they could all be based on Eusebius' poor efforts" (Eisenman 1997:862). |
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The Eastern Orthodox Church have a feast of this icon on August 16 (August 29 in N.S.), which commemorates its [[Translation (relic)|translation]] from Edessa to Constantinople. |
The Eastern Orthodox Church have a feast of this icon on August 16 (August 29 in N.S.), which commemorates its [[Translation (relic)|translation]] from Edessa to Constantinople. |
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==History of the legend== |
==History of the legend== |
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The story of the Mandylion is the product of centuries of development. The first version is found in [[Eusebius of Caesarea|Eusebius]]' ''History of the Church'' (1.13.5-1.13.22). Eusebius claimed that he had transcribed and translated the actual letter in the Syriac chancery documents of the king of Edessa. This records a letter written by King [[Abgar of Edessa]] to Jesus, asking him to come cure him of an illness. Jesus replies by letter, saying that when he had completed his earthly mission and ascended to heaven, he would send a disciple to heal Abgar (and does so). At this stage, there is no mention of an image of Jesus. |
The story of the Mandylion is the product of centuries of development. The first version is found in [[Eusebius of Caesarea|Eusebius]]' ''History of the Church'' (1.13.5-1.13.22). Eusebius claimed that he had transcribed and translated the actual letter in the Syriac chancery documents of the king of Edessa. This records a letter written by King [[Abgar of Edessa]] to Jesus, asking him to come cure him of an illness. Jesus replies by letter, saying that when he had completed his earthly mission and ascended to heaven, he would send a disciple to heal Abgar (and does so). At this stage, there is no mention of an image of Jesus. |
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| ⚫ | The [[provenance]] of the Edessa letter between the 1st century and its location in his own time are not reported by Eusebius. The materials, according to the scholar [[Robert Eisenman]], "are very widespread in the Syriac sources with so many multiple developments and divergences that it is hard to believe they could all be based on Eusebius' poor efforts" (Eisenman 1997:862). |
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In AD 384, [[Egeria (pilgrim)|Egeria]], a pilgrim from either Gaul or Spain, was given a personal tour by the Bishop of Edessa, who gave her many marvellous accounts of miracles that had saved Edessa from the Persians and put into her hands transcripts of the correspondence of Abgarus and Jesus, with embellishments. Part of her accounts of her travels, in letters to her sisterhood, survive. "She naïvely supposed that this version was more complete than the shorter letter which she had read in a translation at home, presumably one brought back to the Far West by an earlier pilgrim" (Palmer 1998). Her escorted tour, accompanied by a translator, was thorough; the bishop is quoted: "Now let us go to the gate where the messenger Ananias came in with the letter of which I have been telling you." (Palmer). There was however, no mention of any image reported by Egeria, who spent three days inspecting every corner of Edessa and the environs. |
In AD 384, [[Egeria (pilgrim)|Egeria]], a pilgrim from either Gaul or Spain, was given a personal tour by the Bishop of Edessa, who gave her many marvellous accounts of miracles that had saved Edessa from the Persians and put into her hands transcripts of the correspondence of Abgarus and Jesus, with embellishments. Part of her accounts of her travels, in letters to her sisterhood, survive. "She naïvely supposed that this version was more complete than the shorter letter which she had read in a translation at home, presumably one brought back to the Far West by an earlier pilgrim" (Palmer 1998). Her escorted tour, accompanied by a translator, was thorough; the bishop is quoted: "Now let us go to the gate where the messenger Ananias came in with the letter of which I have been telling you." (Palmer). There was however, no mention of any image reported by Egeria, who spent three days inspecting every corner of Edessa and the environs. |
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The Mandylion remained under Imperial protection until the Crusaders sacked the city in 1204 and carried off many of its treasures to Western Europe, though the "Image of Edessa" is not mentioned in this context in any contemporary document. Similarly, it is thought that the Shroud of Turin disappeared from Constantinople in 1204, when Crusaders looted the city. The leaders of the Crusader army in this instance were French and Italian (from Venice), and it is believed that somehow because of this, the Shroud made its way to France.<ref>''[[Archaeological Study Bible]]'' by [[Zondervan]]</ref> A small part of a relic, believed to be the same as this, was one of the large group sold by [[Baldwin II of Constantinople]] to [[Louis IX of France]] in 1241 and housed in the [[Sainte-Chapelle]] in Paris (not to be confused with the Sainte Chapelle at [[Chambéry]], home for a time of the Shroud of Turin) until it disappeared during the [[French Revolution]].<ref name="artnet1931"/> |
The Mandylion remained under Imperial protection until the Crusaders sacked the city in 1204 and carried off many of its treasures to Western Europe, though the "Image of Edessa" is not mentioned in this context in any contemporary document. Similarly, it is thought that the Shroud of Turin disappeared from Constantinople in 1204, when Crusaders looted the city. The leaders of the Crusader army in this instance were French and Italian (from Venice), and it is believed that somehow because of this, the Shroud made its way to France.<ref>''[[Archaeological Study Bible]]'' by [[Zondervan]]</ref> A small part of a relic, believed to be the same as this, was one of the large group sold by [[Baldwin II of Constantinople]] to [[Louis IX of France]] in 1241 and housed in the [[Sainte-Chapelle]] in Paris (not to be confused with the Sainte Chapelle at [[Chambéry]], home for a time of the Shroud of Turin) until it disappeared during the [[French Revolution]].<ref name="artnet1931"/> |
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The famous Portuguese Jesuit, [[Jeronimo Lobo]], who visited Rome in 1637, mentions the sacred portrait sent to King Abgar as being in this city |
The famous Portuguese Jesuit, [[Jeronimo Lobo]], who visited Rome in 1637, mentions the sacred portrait sent to King Abgar as being in this city: " I saw the famous relics that are preserved in that city as in a sanctuary, a large part of the holy cross, pieces of the crown and several thorns, the sponge, the lance, Saint Thomas's finger, one of the thirty coins for which the Saviour was sold, the sacred portrait, the one that Christ Our Lord sent to King Abagaro, the sacred staircase on which Christ went up and down from the Praetorium, the head of the holy Baptist, the Column, the Altar on which Saint Peter said mass, and countless other relics.<ref>The itinerario of Jeronimo Lobo,1984, page 400</ref> |
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For support, he refers to documents in the [[Vatican Library]] and the [[University of Leiden]], Netherlands, which seem to suggest the presence of another image at Edessa. A 10th-century codex, ''Codex Vossianus Latinus'' Q 69<ref>From the library of [[Gerhard Johann Vossius]].</ref> found by Gino Zaninotto in the [[Vatican Library]] contains an 8th-century account saying that an imprint of Christ's whole body was left on a canvas kept in a church in Edessa: it quotes a man called Smera in Constantinople: "King Abgar received a cloth on which one can see not only a face but the whole body" (in [[Latin]]: ''[non tantum] faciei figuram sed totius corporis figuram cernere poteris'').<ref>''Codex Vossianus Latinus'', Q69, and Vatican Library, Codex 5696, fol.35, which was published in Pietro Savio, ''Ricerche storiche sulla Santa Sindone'' Turin 1957.</ref> |
For support, he refers to documents in the [[Vatican Library]] and the [[University of Leiden]], Netherlands, which seem to suggest the presence of another image at Edessa. A 10th-century codex, ''Codex Vossianus Latinus'' Q 69<ref>From the library of [[Gerhard Johann Vossius]].</ref> found by Gino Zaninotto in the [[Vatican Library]] contains an 8th-century account saying that an imprint of Christ's whole body was left on a canvas kept in a church in Edessa: it quotes a man called Smera in Constantinople: "King Abgar received a cloth on which one can see not only a face but the whole body" (in [[Latin]]: ''[non tantum] faciei figuram sed totius corporis figuram cernere poteris'').<ref>''Codex Vossianus Latinus'', Q69, and Vatican Library, Codex 5696, fol.35, which was published in Pietro Savio, ''Ricerche storiche sulla Santa Sindone'' Turin 1957.</ref> |
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==Gambar yang terlestarikan== |
== Gambar yang terlestarikan == |
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Ada dua gambar yang terlestarikan sampai sekarang yang dikaitkan dengan "Mandylion". |
Ada dua gambar yang terlestarikan sampai sekarang yang dikaitkan dengan "Mandylion". |
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===Wajah Kudus di Genoa=== |
=== Wajah Kudus di Genoa === |
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Gambar ini disimpan di [[ |
Gambar ini disimpan di [[Church of St Bartholomew of The Armenians, Genoa|Gereja St Bartholomew of The Armenians]] di kota [[Genoa]], [[Italia]]. Pada abad ke-14 gambar ini disumbangkan kepada [[doge of Genoa|''doge'' Genoa]], Leonardo Montaldo, oleh Kaisar [[Bizantin]], [[John V Palaeologus]]. |
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Menjadi subjek studi cermat pada tahun 1969 oleh Colette Dufour Bozzo, yang memberi tarikh kerangka luar gambar ini ke akhir abad ke-14,<ref>{{Harvnb|Wilson|1991|p=162}}</ref> sebagai [[terminus ante quem]] untuk kerangka dalam dan gambar itu sendiri. Bozzo mendapati bahwa gambar itu tercetak pada secarik kain yang telah ditempelkan pada papan kayu.<ref>{{Harvnb|Wilson|1991|p=88}}</ref><ref>[http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/index.html ''Das Mandylion von Genua und sein paläologischer Rahmen - The Mandylion of Genoa''] (in German) See also: [http://www.eikonikon.nl/bulletin/2003/frankenweg.php ''Annalen van de stad Genua uit de 14de eeuw beschrijven dat het de echte Edessa-mandylion betreft''] (in Dutch)</ref> |
Menjadi subjek studi cermat pada tahun 1969 oleh Colette Dufour Bozzo, yang memberi tarikh kerangka luar gambar ini ke akhir abad ke-14,<ref>{{Harvnb|Wilson|1991|p=162}}</ref> sebagai [[terminus ante quem]] untuk kerangka dalam dan gambar itu sendiri. Bozzo mendapati bahwa gambar itu tercetak pada secarik kain yang telah ditempelkan pada papan kayu.<ref>{{Harvnb|Wilson|1991|p=88}}</ref><ref>[http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/index.html ''Das Mandylion von Genua und sein paläologischer Rahmen - The Mandylion of Genoa''] {{Webarchive|url=https://web.archive.org/web/20071114220342/http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/index.html |date=2007-11-14 }} (in German) See also: [http://www.eikonikon.nl/bulletin/2003/frankenweg.php ''Annalen van de stad Genua uit de 14de eeuw beschrijven dat het de echte Edessa-mandylion betreft''] {{Webarchive|url=https://web.archive.org/web/20160303220601/http://www.eikonikon.nl/bulletin/2003/frankenweg.php |date=2016-03-03 }} (in Dutch)</ref> |
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Kemiripan gambar ini dengan [[Cadar Veronika]] mengindikasikan adanya kaitan antara dua tradisi ini. |
Kemiripan gambar ini dengan [[Cadar Veronika]] mengindikasikan adanya kaitan antara dua tradisi ini. |
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===Wajah Kudus di San Silvestro=== |
=== Wajah Kudus di San Silvestro === |
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Gambar ini asalnya disimpan di gereja [[ |
Gambar ini asalnya disimpan di gereja [[San Silvestro in Capite]] di [[Roma]], yang melekat pada suatu konven [[Poor Clares]], sampai tahun 1870 dan sekarang disimpan di "Matilda chapel" di dalam istana [[Vatikan]]. Diletakkan dalam suatu kerangka Baroque oleh Sister Dionora Chiarucci, kepala konven itu, pada tahun 1623.<ref>{{Harvnb|Wilson|1991|p=193}}</ref> <!--The earliest evidence of its existence is 1517, when the nuns were forbidden to exhibit it to avoid competition with the Veronica. Like the Genoa image, it is painted on board and therefore is likely to be a copy. It was exhibited at Germany’s Expo 2000 in the pavilion of the Holy See. |
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Image: |
Image:Sainte Face - Genes.jpg|Wajah Kudus di [[Genoa]] dengan gambar wajah lebih jelas. |
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Image:39bMandylion.jpg|Wajah Kudus di San Silvestro ("Matilda chapel" dalam istana [[Vatikan]]). |
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Image:Sainte Face - Genes.jpg|The Holy Face of Genoa with the face more visible. |
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Image: |
Image:Mandylion visage.jpg|Gambar San Silvestro dengan wajah lebih jelas. |
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Image:Mandylion visage.jpg|The San Silvestro image with the face more visible. |
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==Lihat pula == |
== Lihat pula == |
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* [[Acheiropoieta]]: gambar kudus Kristen yang "tidak dibuat oleh tangan manusia" |
* [[Acheiropoieta]]: gambar kudus Kristen yang "tidak dibuat oleh tangan manusia" |
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* [[ |
* [[Ancha icon|Keramidion]]: ikon yang dianggap tercipta karena bersentuhan dengan Gambar dari Edessa |
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* [[Kain Kafan dari Torino]] |
* [[Kain Kafan dari Torino]] |
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* [[Cadar Veronika]], gambar Kristus lain yang "tidak dibuat oleh tangan manusia" |
* [[Cadar Veronika]], gambar Kristus lain yang "tidak dibuat oleh tangan manusia" |
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* [[Sudarium dari Oviedo]] |
* [[Sudarium dari Oviedo]] |
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==Referensi== |
== Referensi == |
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{{Reflist}} |
{{Reflist}} |
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==Pustaka == |
== Pustaka == |
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* {{citation|title=Il "Sacro Volto" di Genova|first=Colette|last= Dufour Bozzo|year=1974|publisher=Ist. Nazionale di Archeologia|language=Italian|isbn= 88-7275-074-1}} |
* {{citation|title=Il "Sacro Volto" di Genova|first=Colette|last= Dufour Bozzo|year=1974|publisher=Ist. Nazionale di Archeologia|language=Italian|isbn= 88-7275-074-1}} |
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*Eusebius of Caesarea. [http://www.comparative-religion.com/christianity/apocrypha/new-testament-apocrypha/1/1.php ''Epistle of Jesus Christ to Abgarus King of Edessa''] ''Historia Ecclesiae'' |
* Eusebius of Caesarea. [http://www.comparative-religion.com/christianity/apocrypha/new-testament-apocrypha/1/1.php ''Epistle of Jesus Christ to Abgarus King of Edessa''] {{Webarchive|url=https://web.archive.org/web/20041010054056/http://www.comparative-religion.com/christianity/apocrypha/new-testament-apocrypha/1/1.php |date=2004-10-10 }} ''Historia Ecclesiae'' |
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*Eisenman, Robert., 1997. ''James the Brother of Jesus''. (Viking Penguin). In part a deconstruction of the legends surrounding Agbar/Abgar. |
* Eisenman, Robert., 1997. ''James the Brother of Jesus''. (Viking Penguin). In part a deconstruction of the legends surrounding Agbar/Abgar. |
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*[[Ernst Kitzinger|Kitzinger, Ernst]], "The Cult of Images in the Age before Iconoclasm", ''Dumbarton Oaks Papers'', Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, [http://www.jstor.org/stable/1291064 JSTOR] |
* [[Ernst Kitzinger|Kitzinger, Ernst]], "The Cult of Images in the Age before Iconoclasm", ''Dumbarton Oaks Papers'', Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, [http://www.jstor.org/stable/1291064 JSTOR] {{Webarchive|url=https://web.archive.org/web/20170202102313/https://www.jstor.org/stable/1291064 |date=2017-02-02 }} |
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* {{citation | last = Wilson | first = Ian | title = Holy Faces, Secret Places | publisher = Doubleday | location = Garden City | year = 1991 | isbn = 0-385-26105-5 }} |
* {{citation | last = Wilson | first = Ian | title = Holy Faces, Secret Places | publisher = Doubleday | location = Garden City | year = 1991 | isbn = 0-385-26105-5 }} |
||
* {{citation | last = Westerson | first = Jeri | title = Veil of Lies; A Medieval Noir. (Fiction referencing the Mandyllon.) | publisher = Minotaur Books | location = New York | year = 2008 | isbn = 978-0312580124 }} |
* {{citation | last = Westerson | first = Jeri | title = Veil of Lies; A Medieval Noir. (Fiction referencing the Mandyllon.) | publisher = Minotaur Books | location = New York | year = 2008 | isbn = 978-0312580124 }} |
||
| Baris 94: | Baris 100: | ||
| publisher = Brill| location = Leiden | year = 2014 | isbn = 9789004269194 }} |
| publisher = Brill| location = Leiden | year = 2014 | isbn = 9789004269194 }} |
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==Pranala luar== |
== Pranala luar == |
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{{Commons category|Mandylion}} |
{{Commons category|Mandylion}} |
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*[http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/Web.jpeg Image: Mandylion of Genoa] |
* [http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/Web.jpeg Image: Mandylion of Genoa] {{Webarchive|url=https://web.archive.org/web/20110108182303/http://www.mpg.de/bilderBerichteDokumente/dokumentation/jahrbuch/2005/kunsthistorisches_institut/forschungsSchwerpunkt1/Web.jpeg |date=2011-01-08 }} |
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*[http://www.urfa.org/urfa/ Old and new Images from Edessa] |
* [http://www.urfa.org/urfa/ Old and new Images from Edessa] {{Webarchive|url=https://web.archive.org/web/20060721222632/http://www.urfa.org/urfa/ |date=2006-07-21 }} |
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*[http://www.isidore-of-seville.com/goudenhoorn/61andrew.html Andrew Palmer's essay on Edessa in ''Golden Horn: a Journal of Byzantium''] summer, 1998 |
* [http://www.isidore-of-seville.com/goudenhoorn/61andrew.html Andrew Palmer's essay on Edessa in ''Golden Horn: a Journal of Byzantium''] {{Webarchive|url=https://web.archive.org/web/20040806003957/http://www.isidore-of-seville.com/goudenhoorn/61andrew.html |date=2004-08-06 }} summer, 1998 |
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*[http://www.icon-art.info/topic.php?lng=en&top_id=122 Icons of the Mandylion (mostly Russian)] |
* [http://www.icon-art.info/topic.php?lng=en&top_id=122 Icons of the Mandylion (mostly Russian)] {{Webarchive|url=https://web.archive.org/web/20170315033148/http://www.icon-art.info/topic.php?lng=en&top_id=122 |date=2017-03-15 }} |
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*[http://www.shroudofturin4journalists.com/history.htm Is the Shroud of Turin the Image of Edessa?] |
* [http://www.shroudofturin4journalists.com/history.htm Is the Shroud of Turin the Image of Edessa?] {{Webarchive|url=https://web.archive.org/web/20060815191312/http://www.shroudofturin4journalists.com/history.htm |date=2006-08-15 }} |
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*[http://www.shroud.com/pdfs/guscin3.pdf Eyewitness report: The sermon of Gregory Referendarius in 944] |
* [http://www.shroud.com/pdfs/guscin3.pdf Eyewitness report: The sermon of Gregory Referendarius in 944] {{Webarchive|url=https://web.archive.org/web/20170106192439/https://www.shroud.com/pdfs/guscin3.pdf |date=2017-01-06 }} |
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*[http://www.shroudstory.com/scavone/scavone.doc Documentary proofs, make out a list of sixteen documents in the period 944 to 1247] |
* [http://www.shroudstory.com/scavone/scavone.doc Documentary proofs, make out a list of sixteen documents in the period 944 to 1247] {{Webarchive|url=https://web.archive.org/web/20070927210031/http://www.shroudstory.com/scavone/scavone.doc |date=2007-09-27 }} |
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*[http://www.cirac.org/Mandylion.pdf The Templar Mandylion: Relations of a Breton Calvary with the Turin Shroud and the Templar Knights]. Excerpt of an electronic publication. |
* [http://www.cirac.org/Mandylion.pdf The Templar Mandylion: Relations of a Breton Calvary with the Turin Shroud and the Templar Knights] {{Webarchive|url=https://web.archive.org/web/20170811123430/http://www.cirac.org/Mandylion.pdf |date=2017-08-11 }}. Excerpt of an electronic publication. |
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*[http://www.cirac.org/infos-uk/shroud.htm Shroud of Turin and the Mandylion - Full Story] (François Gazay) |
* [http://www.cirac.org/infos-uk/shroud.htm Shroud of Turin and the Mandylion - Full Story] {{Webarchive|url=https://web.archive.org/web/20170205220650/http://www.cirac.org/infos-uk/shroud.htm |date=2017-02-05 }} (François Gazay) |
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{{DEFAULTSORT:Gambar dari Edessa}} |
{{DEFAULTSORT:Gambar dari Edessa}} |
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Revisi terkini sejak 28 Juli 2023 10.47
Gambar dari Edessa (bahasa Inggris: Image of Edessa) menurut tradisi Kristen adalah relikwi kudus yang berupa kain berbentuk bujursangkar atau persegi panjang yang secara ajaib memuat cetakan wajah Yesus. Merupakan "ikon" ("gambar") pertama. Dalam gereja Ortodoks Timur dan juga dalam bahasa Inggris, gambar ini dikenal sebagai "Mandylion".
Menurut legenda, ketika Konon Yesus Kristus masih hidup, seorang raja bernama Abgar, penguasa Edessa, menderita penyakit kusta yang teramat parah. Mendengar tentang mukjizat Yesus Kristus yang bisa menyembuhkan berbagai macam penyakit, sang raja berkehendak untuk melihat rupa sang Juru selamat. Raja Abgar mengutus seorang pelukis agar dapat melukis wajah Kristus untuk dirinya. Namun si pelukis tidak dapat menunaikan perintah dari Raja Abgar. Kuas si pelukis tidak dapat menuangkan wajah Kristus yang bercahaya ke dalam lukisannya. Pada saat itu, setelah membasuh muka, sang Juru selamat mengusapkan handuk ke wajah-Nya dan di lembaran kain tersebut secara ajaib tergambarlah wajah suciNya. Begitu menerima lukisan ajaib ini, Raja Abgar sembuh total dari penyakitnya. Legenda lain mengatakan bahwa raja Abgar mengirim surat meminta agar Yesus bersedia datang untuk menyembuhkan, tetapi menerima surat balasan bahwa undangannya ditolak, tetapi Yesus menjanjikan salah satu murid-Nya akan mengunjunginya kelak. Legenda ini pertama kali dicatat pada abad ke-4 oleh Eusebius dari Kaisarea,[1] yang menulis bahwa ia telah menyalin dan menerjemahkan surat asli dalam dokumen arsip dalam bahasa Suryani dari raja Edessa, tetapi tidak menyinggung mengenai adanya gambar.[2] Dikisahkan bahwa rasul "Thaddaeus" dikatakan telah datang Edessa, membawa perkataan Yesus, yang secara ajaib menyembuhkan penyakit raja itu.
Ikon Suci ini pada awalnya dipasang di gerbang kota, tetapi tidak berapa lama kemudian ikon ini ditutup dengan genting atas pertimbangan akan maksud jahat orang-orang munafik. Saat pasukan Persia mengepung Edessa, Bunda Maria muncul dalam mimpi Uskup Kota, dan memerintahkan agar Ikon Juru Selamat diarak mengelilingi tembok kota. Dengan ini, pada akhirnya musuh berhasil diusir. Penguasa Bizantium memindahkan Ikon Suci ini ke ibu kota Konstantinopel. Namun saat Konstantinopel diduduki oleh Pasukan Orde Salib, ikon ini tentunya mereka kuasai, dan sampai sekarang tidak diketahui nasibnya.
Replika Ikon ini sangat dicintai di Ranah Rusia. Di Moscow, ikon ajaib ini sempat berada di Kremlin, yaitu di “Kathedral Uspenskiy”, kemudian dipindahkan ke biara Novospassky. Ikon ini menunjukkan mukjizatnya saat terjadi kebakaran hebat dan merajalelanya wabah kolera di Moscow. Di zaman modern, Wajah Suci Juru Selamat selalu dicantumkan di panji-panji bendera pasukan Rusia.
Gambar yang terlestarikan
[sunting | sunting sumber]Ada dua gambar yang terlestarikan sampai sekarang yang dikaitkan dengan "Mandylion".
Wajah Kudus di Genoa
[sunting | sunting sumber]Gambar ini disimpan di Gereja St Bartholomew of The Armenians di kota Genoa, Italia. Pada abad ke-14 gambar ini disumbangkan kepada doge Genoa, Leonardo Montaldo, oleh Kaisar Bizantin, John V Palaeologus.
Menjadi subjek studi cermat pada tahun 1969 oleh Colette Dufour Bozzo, yang memberi tarikh kerangka luar gambar ini ke akhir abad ke-14,[3] sebagai terminus ante quem untuk kerangka dalam dan gambar itu sendiri. Bozzo mendapati bahwa gambar itu tercetak pada secarik kain yang telah ditempelkan pada papan kayu.[4][5]
Kemiripan gambar ini dengan Cadar Veronika mengindikasikan adanya kaitan antara dua tradisi ini.
Wajah Kudus di San Silvestro
[sunting | sunting sumber]Gambar ini asalnya disimpan di gereja San Silvestro in Capite di Roma, yang melekat pada suatu konven Poor Clares, sampai tahun 1870 dan sekarang disimpan di "Matilda chapel" di dalam istana Vatikan. Diletakkan dalam suatu kerangka Baroque oleh Sister Dionora Chiarucci, kepala konven itu, pada tahun 1623.[6]
-
Wajah Kudus di Genoa dengan gambar wajah lebih jelas. -
Wajah Kudus di San Silvestro ("Matilda chapel" dalam istana Vatikan). -
Gambar San Silvestro dengan wajah lebih jelas.
Lihat pula
[sunting | sunting sumber]- Acheiropoieta: gambar kudus Kristen yang "tidak dibuat oleh tangan manusia"
- Keramidion: ikon yang dianggap tercipta karena bersentuhan dengan Gambar dari Edessa
- Kain Kafan dari Torino
- Cadar Veronika, gambar Kristus lain yang "tidak dibuat oleh tangan manusia"
- Ikon Yesus Kristus yang tidak dibuat oleh tangan manusia
- Sudarium dari Oviedo
Referensi
[sunting | sunting sumber]- ^ Eusebius, Historia Ecclesiae 1.13.5 and .22.
- ^ Steven Runciman, "Some Remarks on the Image of Edessa", Cambridge Historical Journal 3.3 (1931:238-252), p. 240
- ^ Wilson 1991, hlm. 162
- ^ Wilson 1991, hlm. 88
- ^ Das Mandylion von Genua und sein paläologischer Rahmen - The Mandylion of Genoa Diarsipkan 2007-11-14 di Wayback Machine. (in German) See also: Annalen van de stad Genua uit de 14de eeuw beschrijven dat het de echte Edessa-mandylion betreft Diarsipkan 2016-03-03 di Wayback Machine. (in Dutch)
- ^ Wilson 1991, hlm. 193
Pustaka
[sunting | sunting sumber]- Dufour Bozzo, Colette (1974), Il "Sacro Volto" di Genova (dalam bahasa Italian), Ist. Nazionale di Archeologia, ISBN 88-7275-074-1
- Eusebius of Caesarea. Epistle of Jesus Christ to Abgarus King of Edessa Diarsipkan 2004-10-10 di Wayback Machine. Historia Ecclesiae
- Eisenman, Robert., 1997. James the Brother of Jesus. (Viking Penguin). In part a deconstruction of the legends surrounding Agbar/Abgar.
- Kitzinger, Ernst, "The Cult of Images in the Age before Iconoclasm", Dumbarton Oaks Papers, Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, JSTOR Diarsipkan 2017-02-02 di Wayback Machine.
- Wilson, Ian (1991), Holy Faces, Secret Places, Garden City: Doubleday, ISBN 0-385-26105-5
- Westerson, Jeri (2008), Veil of Lies; A Medieval Noir. (Fiction referencing the Mandyllon.), New York: Minotaur Books, ISBN 978-0312580124
- Nicolotti, Andrea (2014), From the Mandylion of Edessa to the Shroud of Turin. The Metamorphosis and Manipulation of a Legend, Leiden: Brill, ISBN 9789004269194
Pranala luar
[sunting | sunting sumber]
Wikimedia Commons memiliki media mengenai Mandylion.
- Image: Mandylion of Genoa Diarsipkan 2011-01-08 di Wayback Machine.
- Old and new Images from Edessa Diarsipkan 2006-07-21 di Wayback Machine.
- Andrew Palmer's essay on Edessa in Golden Horn: a Journal of Byzantium Diarsipkan 2004-08-06 di Wayback Machine. summer, 1998
- Icons of the Mandylion (mostly Russian) Diarsipkan 2017-03-15 di Wayback Machine.
- Is the Shroud of Turin the Image of Edessa? Diarsipkan 2006-08-15 di Wayback Machine.
- Eyewitness report: The sermon of Gregory Referendarius in 944 Diarsipkan 2017-01-06 di Wayback Machine.
- Documentary proofs, make out a list of sixteen documents in the period 944 to 1247 Diarsipkan 2007-09-27 di Wayback Machine.
- The Templar Mandylion: Relations of a Breton Calvary with the Turin Shroud and the Templar Knights Diarsipkan 2017-08-11 di Wayback Machine.. Excerpt of an electronic publication.
- Shroud of Turin and the Mandylion - Full Story Diarsipkan 2017-02-05 di Wayback Machine. (François Gazay)
