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A German holy card from around 1910 depicting the crucifixion The earliest known woodcut, St Christopher, 1423, Buxheim, with hand-colouring Prayer card of the Holy Face of Jesus In the Christian tradition, holy cards or prayer cards are small, devotional pictures for the use of the faithful that usually depict a religious scene or a saint in ...
[6] [7] It is viewed as a puzzle, a visual challenge, and has been rendered as sculpture, drawing, and painting. The symbol features three hares or rabbits chasing each other in a circle. Like the triskelion, [8] the triquetra, and their antecedents (e.g., the triple spiral), the symbol of the three hares has a threefold rotational symmetry ...
The Head of Christ, also called the Sallman Head, is a 1940 portrait painting of Jesus of Nazareth by Warner Sallman (1892–1968). As an extraordinarily successful work of Christian popular devotional art, [1] it had been reproduced over half a billion times worldwide by the end of the 20th century. [2]
The Horses of Neptune, illustration by Walter Crane, 1893. Horse symbolism is the study of the representation of the horse in mythology, religion, folklore, art, literature and psychoanalysis as a symbol, in its capacity to designate, to signify an abstract concept, beyond the physical reality of the quadruped animal.
The ruin symbolism in "Nativity" and "Adoration of the Magi" paintings first emerged in Early Netherlandish art around the mid-fifteenth century, in a distinct Romanesque style. [29] Early Netherlandish painters began to associate this style with the architecture of the Holy Land, in contrast to the vague Orientalism of earlier depictions.
The Three Crosses is a 1653 print in etching and drypoint by the Dutch artist Rembrandt van Rijn, which depicts the crucifixion of Jesus Christ. Most of his prints are mainly in etching and this one is a drypoint with burin adjustments from the third state onwards. [1] It is considered "one of the most dynamic prints ever made". [2]
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 resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ. In the teachings of the traditional Christian churches, the sacraments derive their saving power from the passion and resurrection of Christ, upon which the salvation of the world entirely ...