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Images of Jesus tend to show ethnic characteristics similar to those of the culture in which the image has been created. Beliefs that certain images are historically authentic, or have acquired an authoritative status from Church tradition, remain powerful among some of the faithful, in Eastern Orthodoxy, Lutheranism, Anglicanism, and Roman ...
The ladder used for the Deposition, i.e. the removal of Christ's body from the cross for burial; The ropes used for the Raising of the Cross; The hammer used to drive the nails into Jesus' hands and feet; The pincers used to remove the nails; The vessel of myrrh, used to anoint the body of Jesus, either by Joseph of Arimathea or by the Myrrhbearers
Ascension of Christ and Noli me tangere, c. 400, ivory, Milan or Rome, now in Munich.See below for a similar Ascension 450 years later.. New Testament scenes that appear in the Early Christian art of the 3rd and 4th centuries typically deal with the works and miracles of Jesus such as healings, the multiplication of the loaves or the raising of Lazarus. [3]
Jesus hands Judas the sop, Tilman Riemenschneider, Holy Blood Altar, Rothenburg ob der Tauber, 1501–05. The first episode, much the most common in Western Medieval art, [13] is the dramatic and dynamic moment of Jesus' announcement of his betrayal.
This category is for specific works that include depictions of Jesus in the visual arts. For articles covering ways of depicting scenes or types of depictions of Jesus in general, see the sub-category Category:Iconography of Jesus. For images of Jesus as an infant with his mother, see Category:Madonna and Child in art.
With the world's annual celebration of his birth mere weeks away, it turns out one of the most revered figures who ever walked the Earth likely didn't look like the pictures of him.
The motif of the hand, with no body attached, provides a problem for the artist in how to terminate it. In Christian narrative images the hand most often emerges from a small cloud, at or near the top of the image, but in iconic contexts it may appear cut off in the picture space, or spring from a border, or a victor's wreath (left).
In a famous Catholic Romanesque fresco of Jesus Christ in Glory in Sant Climent de Taüll, the scriptural inscription Ego Sum Lux Mundi ("I Am the Light of the World") is incorporated in the mandorla design. [2] The tympanum at Conques has Christ, with a gesture carved in Romanesque sculpture, indicate the angels at his feet bearing candlesticks.