Dürer’s Apocalypse was undoubtedly the prototype for the many apocalyptic representations that suddenly appeared in Central Europe by the end of the sixteenth century: the influence of Dürer’s Apocalypse extended far beyond the German borders, towards Western, Southern and Eastern countries. The Apocalypse text is extremely rich in symbols so that it could easily be enriched with additional meanings: Cranach’s reworking of Dürer’s iconographic model in the 1520s, under Luther’s personal guidance, became a key instrument of transmission of the Lutheran doctrine and anti-papal criticism. The reception of these prototypes in the Orthodox world followed different routes, as two different works of art can prove, namely, a cycle of frescoes on Mount Athos and a series of Gospel book covers made at the end of the seventeenth century by an unidentified Transylvanian Saxon Lutheran goldsmith. In the latter, the Cranach prototype, which was originally made with the purpose of transmitting the Lutheran doctrine, was brilliantly adapted by the goldsmith to a different context. The comparative analysis of the same scene by Dürer, Cranach and the Transylvanian goldsmith can be useful to show how art could be employed to transmit a religious and political message while adapting it to the specific needs and characteristics of a culturally and religiously different context.

中文翻译：

---

正统背景下的路德教启示录意象

丢勒的启示录无疑是 16 世纪末突然出现在中欧的许多启示录的原型：丢勒的启示录的影响远远超出德国边界，延伸到西方、南方和东方国家。启示录文本中的符号极其丰富，因此可以很容易地用额外的含义来丰富它：在路德的个人指导下，克拉纳赫在 1520 年代对丢勒的肖像模型进行了重新设计，成为传播路德教义和反教皇批评的重要工具。东正教世界对这些原型的接受遵循不同的路线，正如两件不同的艺术作品所证明的那样，即 阿索斯山上的一系列壁画和 17 世纪末由一位身份不明的特兰西瓦尼亚撒克逊路德会金匠制作的一系列福音书封面。在后者中，最初为传播路德教义而制作的克拉纳赫原型被金匠巧妙地改编为不同的背景。丢勒、克拉纳赫和特兰西瓦尼亚金匠对同一场景的比较分析有助于展示如何利用艺术来传播宗教和政治信息，同时使其适应不同文化和宗教背景的特定需求和特征。金匠出色地适应了不同的环境。丢勒、克拉纳赫和特兰西瓦尼亚金匠对同一场景的比较分析有助于展示如何利用艺术来传播宗教和政治信息，同时使其适应不同文化和宗教背景的特定需求和特征。金匠出色地适应了不同的环境。丢勒、克拉纳赫和特兰西瓦尼亚金匠对同一场景的比较分析有助于展示如何利用艺术来传播宗教和政治信息，同时使其适应不同文化和宗教背景的特定需求和特征。