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Statue of Jesus Christ on top of the Temple Expiatori del Sagrat Cor in Barcelona, Spain; Statue of the Holy Son in Wolmyeongdong, South Korea; Statue of Jesus Christ at Buntu Burake Hill, South Sulawesi, Indonesia [4] Jesus Blessed Sibea-bea or more often referred to as the Statue of Jesus in Sibea-bea, Samosir, North Sumatra, Indonesia, a ...
The work depicts Christ wearing a red tunic, which symbolises the colour of blood, martyrdom and humanity; and a blue mantle which symbolise the colour of heaven and Christ's divinity. Batoni represented Jesus with long hair and a short beard, holding in his left hand an inflamed heart with a crown of thorns and with a cross at the top.
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A Brazilian photographer, Fernando Braga, went viral recently for his stunning image of lightning striking the Christ the Redeemer statue in Rio de Janeiro. “It was unbelievable at first. Like a ...
Christ after his Resurrection, with the ostentatio vulnerum, showing his wounds, Austria, c. 1500. The five wounds comprised 1) the nail hole in his right hand, 2) the nail hole in his left hand, 3) the nail hole in his right foot, 4) the nail hole in his left foot, 5) the wound to his torso from the piercing of the spear.
The image of the Divine Mercy is a depiction of Jesus Christ that is based on the Divine Mercy devotion initiated by Faustina Kowalska. According to Kowalska's diary, Jesus told her "I promise that the soul that will venerate this image will not perish. I also promise victory over enemies already here on earth, especially at the hour of death.
Christ the Redeemer (Portuguese: Cristo Redentor, standard Brazilian Portuguese: [ˈkɾistu ʁedẽˈtoʁ]) is an Art Deco statue of Jesus in Rio de Janeiro, Brazil, created by French-Polish sculptor Paul Landowski and built by Brazilian engineer Heitor da Silva Costa, in collaboration with French engineer Albert Caquot.
From the middle of the 4th century, after Christianity was legalized by the Edict of Milan in 313, and gained Imperial favour, there was a new range of images of Christ the King, [47] using either of the two physical types described above, but adopting the costume and often the poses of Imperial iconography.
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