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The servant has an exalted status in the eyes of God, but people despise him and consider him hated by God (Isa 52:13-53:3). The servant's violent torture and death. This passage uses violent language to describe the fate of the servant, including suffering, smitten, afflicted, wounded, crushed, bruising, cut off, anguished and exposed to death.
Meister Francke: Man of sorrows, with angels, c. 1430 German woodcut with hand-colouring, 1465–70. Man of Sorrows, a biblical term, is paramount among the prefigurations of the Messiah identified by the Bible in the passages of Isaiah 53 (Servant songs) in the Hebrew Bible.
The servant songs (also called the servant poems or the Songs of the Suffering Servant) are four songs in the Book of Isaiah in the Hebrew Bible, which include Isaiah 42:1–4; Isaiah 49:1–6; Isaiah 50:4–11; and Isaiah 52:13–53:12. The songs are four poems written about a certain "servant of YHWH" (Hebrew: עבד יהוה, ‘eḇeḏ ...
A spitting face, indicating the mockery of Jesus; The hand which slapped Jesus' face; The chains or cords which bound Jesus overnight in prison; The lantern or torches used by the arresting soldiers at the time of the betrayal, as well as their swords and staves; The sword used by Peter to cut off the ear of the High Priest's servant.
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 Eagle is Matthew, who presents Jesus as the King who will soon return to seek his people, Jesus Will Return; the ox is Luke, where he presents Jesus as the suffering servant who bore our sickness, Jesus Healing; The Face of Man (representing Mark) presents Jesus as the perfect man who came to save us, Jesus Saves; The Lion is John presents ...
This fresh suffering of Christ has strong echoes of the Song of the Suffering Servant in Isaiah 53. Over time, these images might have been venerated as "Saint Sunday". There are 38 wills, as well as the Morebath churchwarden accounts that set aside provisions for a light to be set before the image of St. Sunday. [4]
Choral meditations on aspects of the suffering of Jesus on the cross include arrangements such as Buxtehude's Membra Jesu Nostri, a 1680 set of seven Passion cantatas, and the first such Lutheran treatment, incorporating lyrics excerpted from a medieval Latin poem and featuring Old Testament verses that prefigure the Messiah as suffering servant.