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You are free: to share – to copy, distribute and transmit the work; to remix – to adapt the work; Under the following conditions: attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made.
The following 50 pages use this file: Abolitionism (animal rights) Ag-gag; Animal protectionism; Animal rights; Animal rights by country or territory; Animal rights movement; Animal slaughter; Animal testing; Animal testing on non-human primates; Animal welfare; Animal–industrial complex; Captivity (animal) Carnism; Cattle slaughter in India ...
Tarrant began her career by designing Christmas Cards, but it was her book illustration that brought her success and fame. [7] Among the publishers she produced cards for were the Medici Society, [note 1] Hale, Cushman and Flint of Boston, Massachusetts, C. W. Faulkner, and Humphrey Milford. [9]
With the fourteenth century, animals become less frequent in iconography. The fifteenth and sixteenth centuries use them again, but copied more closely from life, usually of small size, and often without any intention of symbolism. One finds now animals such as rats, snakes, rabbits, snails, and lizards.
Religious art is a visual representation of religious ideologies and their relationship with humans. Sacred art directly relates to religious art in the sense that its purpose is for worship and religious practices.
Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media. Images of Jesus and narrative scenes from the Life of Christ are the most common subjects, and scenes from the Old Testament play a part in the art of most denominations.
Holy Trinity, Hospitality of Abraham; by Andrei Rublev; c. 1411; tempera on panel; 1.1 x 1.4 m (4 ft 8 in x 3 ft 8 3 ⁄ 4 in); Tretyakov Gallery (Moscow). Russian icons represent a form of religious art that developed in Eastern Orthodox Christianity after Kievan Rus' adopted the faith from the Eastern Roman (Byzantine) Empire in AD 988. [1]
Such images functioned as powerful relics as well as icons, and their images were naturally seen as authoritative as to the true appearance of the subject: naturally and especially because of the reluctance to accept mere human productions as embodying anything of the divine, a commonplace of Christian deprecation of man-made "idols". Like ...
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