Search results
Results from the WOW.Com Content Network
The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei (the "right hand of God"), is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Yahweh or God the Father as a full human figure was considered unacceptable. The hand, sometimes including a portion of an arm ...
Orans, a loanword from Medieval Latin orans (Latin: [ˈoː.raːns]) translated as "one who is praying or pleading", also orant or orante, as well as lifting up holy hands, is a posture or bodily attitude of prayer, usually standing, with the elbows close to the sides of the body and with the hands outstretched sideways, palms up.
The phrase is used many times in the Bible to describe God's powerful deeds during the Exodus: Exodus 6:6, Deuteronomy 4:34 5:15 7:19 9:29 11:2 26:8, Psalms 136:12. The phrase is also used to describe other past or future mighty deeds of God, in the following sources: II Kings 17:36, Jeremiah 21:5 27:5 32:17, Ezekiel 20:33 20:34, II Chronicles 6:32.
Throughout the ages, art has been a part of the church. God designed the temple, employing artisans to create its beautiful and ornate workmanship. Churches of old included stained-glass windows created to illustrate God’s word, and even the most simple country churches often include beautiful wooden crosses and podiums.
God Inviting Christ to Sit on the Throne at His Right Hand, painting by Pieter de Grebber (1645). The Holy Spirit is visible as a dove at the top of the image.. The right hand of God is a phrase used in the Bible and common speech as a metaphor for the omnipotence of God and as a motif in art.
The Hand of God symbol in the Ascension from the Drogo Sacramentary, c. 850. The Hand of God, an artistic metaphor, is found several times in the only ancient synagogue with a large surviving decorative scheme, the Dura Europos Synagogue of the mid-3rd century, and was probably adopted into Early Christian art from Jewish art.
God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.
The banner on the Triumphal cross is usually white and has a red cross, symbolizing the victory of the resurrected Christ over death. The symbol derived from the 4th century vision of the Roman Emperor Constantine the Great and his use of a cross on the Roman Standard. [23] Resurrection of Christ, Annibale Carracci, 1593, Louvre