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The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty , and also many types of portrait or devotional subjects without a narrative ...
The legendary nature of much of the last two types of material is clear, but the stories remain evidence of practices around images and beliefs as to what images were capable of. [ 40 ] It is this period that the attribution to individual images of the potential to achieve, channel or display various forms of spiritual grace or divine power ...
The proclamation of Jesus as Christ is fundamental to Christology and the Confession of Peter, and Jesus's acceptance of the title is a definitive statement for it in the New Testament narrative. [106] While some of this passage may well be authentic, the reference to Jesus as Christ and Son of God is likely to be an addition by Matthew. [107]
For a list of all events in the life of Jesus, see Gospel harmony For a list of parables told by Jesus, see Parables of Jesus For a list of miracles attributed to Jesus, see Miracles of Jesus
The Roman Catholic Church links New Earth with New Creation (theology), seeing them both signified in Baptism. [7] Baptismal grace - in particular, the fruit of the Holy Spirit - is a foretaste of eternal life in Paradise, [8] which in turn is a foretaste of deified life in the New Earth on Judgment Day. [9]
The events of the Old Testament were seen as part of the story, with the events of Christ's life bringing these stories to a full conclusion. The technical name for seeing the New Testament in the Old is called typology. Christ rises from the tomb, alongside Jonah spit onto the beach, a typological allegory. From a 15th-century Biblia pauperum.
The Babylonian Talmud contains stories of earthly appearances of God, Elijah, Satan, and demons. [20] Since the time of Maimonides, mainstream Judaism has mostly rejected any possibility of an incarnation of God in any form. [21] However, some modern-day Hasidim believe in a somewhat similar concept.
Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist), they therefore acted as important references for other images in the tradition.