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In other depictions Michael may be holding a pair of scales in which he weighs the souls of the departed and may hold the book of Life (as in the Book of Revelation), to show that he takes part in the judgment. [1] [2] However this form of depiction is less common than the slaying of the dragon. [1]
Normally given wings in art, angels are usually intended, in both Christian and Islamic art, to be beautiful, though several depictions go for more awe-inspiring or frightening attributes, notably in the depiction of the living creatures (which have bestial characteristics), ophanim (which are wheels) and cherubim (which have mosaic features ...
Traditio legis, or "transmission of the law", Christ as lawgiver, [2] mosaic, Basilica of San Lorenzo, Milan, 4th century, includes a scroll box at Christ's feet.. From the latter part of the fourth century, a still beardless Christ begins to be depicted seated on a throne on a dais, often with his feet on a low stool and usually flanked by Saints Peter and Paul, and in a larger composition ...
Doom or "the Doom" was a specific term for the Last Judgement and first cited to c. 1200 by the OED ("doom", 6), a sense surviving in this artistic meaning and in phrases such as the "crack of doom" and the word "doomsday", the latter going back to Old English. The original OED in the late 19th century already described this sense of "doom" as ...
Late medieval images of Ecclesia and Synagoga represented the Christian doctrine of supersessionism, whereby the Christian New Covenant had replaced the Jewish Mosaic covenant [49] Sara Lipton has argued that some portrayals, such as depictions of Jewish blindness in the presence of Jesus, were meant to serve as a form of self-reflection rather ...
In images where the creatures surround Christ, the winged man and the eagle are often depicted at Christ's sides, with the lion and the ox positioned lower by his feet, with the man on Christ's right, taking precedence over the eagle, and the lion to the left of the ox. These positions reflect the medieval great chain of being. [25]
Christ in Majesty shown within a mandorla shape in a medieval illuminated manuscript. 13/14th c. seal of Stone Priory in Staffordshire, England, in the shape of a mandorla. A mandorla is an almond-shaped aureola, i.e. a frame that surrounds the totality of an iconographic figure. It is usually synonymous with vesica, a lens shape.
Persian miniatures, along with medieval depictions of Muhammad and angels in Islam, stand as prominent examples contrary to the modern Sunni tradition. Also, Shi'a Muslims are much less averse to the depiction of figures, including the Prophet's as long as the depiction is respectful.