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The Cristos Negros or Black Christs of Central America and Mexico trace their origins to the veneration of an image of Christ on a cross located in the Guatemalan town of Esquipulas, near the Honduran and Salvadoran border. This image was sculpted in 1595 in wood and over time it blackened and gained a reputation for being miraculous.
By the 17th century, a devotion associated with an image became known as the "Miraculous Lord of Esquipulas" or the "Miraculous Crucifix venerated in the town called Esquipulas". Esquipulas holds its patronal festival on January 15, when the largest number of pilgrims come from Guatemala and neighboring Central American countries. [2]
Crucifixions and crucifixes have appeared in the arts and popular culture from before the era of the pagan Roman Empire.The crucifixion of Jesus has been depicted in a wide range of religious art since the 4th century CE, frequently including the appearance of mournful onlookers such as the Virgin Mary, Pontius Pilate, and angels, as well as antisemitic depictions portraying Jews as ...
The Church of Jesus Christ of Latter-day Saints teaches that Jesus died on a cross; however, their prophet Gordon B. Hinckley stated that "for us the cross is the symbol of the dying Christ, while our message is a declaration of the living Christ." When asked what was the symbol of his religion, Hinckley replied "the lives of our people must ...
Station 4 appears out of order from scripture; Jesus's mother is present at the crucifixion but is only mentioned after Jesus is nailed to the cross and before he dies (between stations 11 and 12). The scriptures contain no accounts whatsoever of any woman wiping Jesus's face nor of Jesus falling as stated in Stations 3, 6, 7 and 9.
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The banner on the Triumphal cross is usually white and has a red cross, symbolizing the victory of the resurrected Christ over death. The symbol derived from the 4th century vision of the Roman Emperor Constantine the Great and his use of a cross on the Roman Standard. [23] Resurrection (Annibale Carracci), 1593, Louvre
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