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Nehushtan. In the biblical Books of Kings (2 Kings 18:4; written c. 550 BC), the Nehushtan (/ nəˈhʊʃtən /; Hebrew: נְחֻשְׁתָּן, romanized: Nəḥuštān [nəħuʃtaːn]) is the bronze image of a serpent on a pole. The image is described in the Book of Numbers, where Yahweh instructed Moses to erect it so that the Israelites who ...
e. Christian symbolism is the use of symbols, including archetypes, acts, artwork or events, by Christianity. It invests objects or actions with an inner meaning expressing Christian ideas. The symbolism of the early Church was characterized by being understood by initiates only, while after the legalization of Christianity in the Roman Empire ...
The Healing of the Paralytic – one of the oldest known depictions of Jesus, [ 18 ] from the Syrian city of Dura Europos, dating from about 235. Initially Jesus was represented indirectly by pictogram symbols such as the ichthys (fish), the peacock, or an anchor (the Labarum or Chi-Rho was a later development).
Melek Taûs, the Peacock Angel. Tawûsî Melek[a] (Kurdish: تاوسی مەلەک, romanized: Tawûsî Melek, lit. 'Peacock Angel') [4][5][6][7] is one of the central figures of the Yazidi religion. In Yazidi creation stories, before the creation of this world, God created seven Divine Beings, of whom Tawûsî Melek was appointed as the leader.
Early Christianity grew in a society where religious images, usually in the form of statues, both large ones in temples and small ones such as lares and penates in the home, were a prominent feature of traditional pagan religions, such as traditional Ancient Roman religion, Ancient Greek religion and other forms of Eastern paganism.
t. e. In ancient Mesopotamian religion, Pazuzu (Akkadian: 𒀭 𒅆𒊒𒍪𒍪, romanized: pà.zu.zu) [2] is a personification of the southwestern wind, and held kingship over the lilu wind demons. As an apotropaic entity, he is considered as both a destructive and dangerous wind, but also as a repellant to other demons, one who safeguards the ...
Daniel 2 (the second chapter of the Book of Daniel) tells how Daniel related and interpreted a dream of Nebuchadnezzar II, king of Babylon.In his night dream, the king saw a gigantic statue made of four metals, from its head of gold to its feet of mingled iron and clay; as he watched, a stone "not cut by human hands" destroyed the statue and became a mountain filling the whole world.
The "four kingdoms" theme appears explicitly in Daniel 2 and Daniel 7, and is implicit in the imagery of Daniel 8. Daniel's concept of four successive world empires is drawn from Greek theories of mythological history. [2] The symbolism of four metals in the statue in chapter 2 is drawn from Persian writings, [2] while the four "beasts from the ...