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Alexander is mentioned in the Zoroastrian Middle Persian work Arda Wiraz Nāmag as gizistag aleksandar ī hrōmāyīg, literally "Alexander the accursed, the Roman", [1] [2] [3] due to his conquest of the Achaemenid Persian Empire and the burning of its ceremonial capital Persepolis, which was holding the sacred texts of Zoroastrianism in its Royal Archives.
Cultural depictions of Alexander the Great, King of Macedonia (356–323 BCE, reigned 336–323 BCE). Subcategories. ... Alexander the Great in art (16 P) F.
The Alexamenos graffito. The Alexamenos graffito (known also as the graffito blasfemo, or blasphemous graffito) [1]: 393 is a piece of Roman graffito scratched in plaster on the wall of a room near the Palatine Hill in Rome, Italy, which has now been removed and is in the Palatine Museum. [2]
According to legend, Alexander went on pilgrimage to the Siwa Oasis, the sanctuary of the Greco-Egyptian deity Zeus Ammon in 331 BC. There, he was pronounced by the Oracle to be the son of Zeus Ammon, [2] allowing him to therefore have the Horns of Ammon, which themselves followed from Egyptian iconography of Ammon as a ram-headed god or, in his Greek-form, a man with ram horns. [3]
The brilliant white of Christ's robes, the golden-yellow of his halo, and the bright blue of the sky behind him all serve to emphasize the ethereal nature of the event. Similarly, Byzantine art favored a flattened, hieratic style of perspective that emphasized the spiritual significance of the figures depicted.
Pages in category "Alexander the Great in art" The following 16 pages are in this category, out of 16 total. This list may not reflect recent changes. A.
From left to right are the three Christians: Charlemagne bearing an eagle upon his shield, King Arthur displaying three crowns, and Godfrey of Bouillon with a dog lying before him; then the three pagans: Julius Caesar, Hector, and Alexander the Great bearing a griffon upon his shield; and finally the three Jews: David holding a sceptre, Joshua ...
At least in later Orthodox images, each bar of this cross is composed of three lines, symbolising the dogmas of the Trinity, the oneness of God and the two natures of Christ. In mosaics in Santa Maria Maggiore (432–40) the juvenile Christ has a four-armed cross either on top of his head in the radius of the nimbus, or placed above the radius ...