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A page from Kelileh va Demneh dated 1429, from Herat, a Persian translation of the Panchatantra – depicts the manipulative jackal-vizier, trying to lead his lion-king into war. In both Arab and Persian culture, the lion is regarded as a symbol of courage, bravery, royalty and chivalry. The depiction of lions is derived from earlier ...
From the middle of the 4th century, after Christianity was legalized by the Edict of Milan in 313, and gained Imperial favour, there was a new range of images of Christ the King, [47] using either of the two physical types described above, but adopting the costume and often the poses of Imperial iconography.
Abgar Legend: a Christian legend of an alleged correspondence and exchange of letters between Jesus Christ with King Abgar V Ukkāmā of Osroene. Acheiropoieta: sacred Christian images "not made by hands" Depiction of Jesus; Keramidion: icon considered to be created by contact with the Image of Edessa; Relics associated with Jesus; Shroud of Turin
The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
The Rabbula Gospels (c. 586) include some of the earliest images of the Crucifixion and Ascension, and in their Ascension depictions the Virgin Mary occupies a central position among the Apostles; [3] Christ appears in a mandorla above, accompanied by angels. This was to remain the standard Byzantine and Eastern Orthodox depiction. [8]
The floating Christ inevitably recalled the composition of depictions of his Resurrection and Ascension, an association which Raphael and later artists were happy to exploit for effect. [9] Raphael's last painting, "Transfiguration of Jesus", is a masterpiece that reflects his mastery of Renaissance painting techniques.
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Images flourished within the Christian world, but by the 6th century, certain factions arose within the Eastern Church to challenge the use of icons, and in 726-30 they won Imperial support. [citation needed] The Iconoclasts actively destroyed icons in most public places, replacing them with the only religious depiction allowed, the cross.