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The picture faithfully illustrates the narrative as told in the Gospel of John. Mary is depicted in the moment of her recognition of Jesus. She is struck to her knees and leans towards him, but Jesus repels her with a slight gesture. Awe-struck, she gazes into his face, while he explains the message she is to carry to the disciples. [3]
Since Matthew has the women still outside of the tomb, this verse also deviates from Mark by having the angel request that the women enter the tomb. [6] In Mark the angel invites the women to see where "they put him", but Matthew had Joseph of Arimathea acting alone, so he drops the word "they" and reorders that part of the sentence.
In a very early Byzantine depiction of the 11th century, [7] a scene of this type is placed just outside the mouth of the tomb, but around the same time other images place the scene at the foot of the empty cross—in effect relocating it in both time (to before the bearing, laying-out and anointing of the body) as well as space.
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According to the Gospel of Luke, the road to Emmaus appearance is one of the early post-resurrection appearances of Jesus after his crucifixion and the discovery of the empty tomb. [ 1 ] [ 2 ] [ 3 ] Both the meeting on the road to Emmaus and the subsequent supper at Emmaus, depicting the meal that Jesus had with two disciples after the ...
Mark 16:1–8 probably represents a complete unit of oral tradition taken over by the author. [17] It concludes with the women fleeing from the empty tomb and telling no one what they have seen, and the general scholarly view is that this was the original ending of this gospel, with the remaining verses, Mark 16:9–16, being added later.
Other sculptural representations of the Nativity include ivory miniatures, carved stone sarcophagi, architectural features such as capitals and door lintels, and free standing sculptures. Free-standing sculptures may be grouped into a Nativity scene (crib, creche or presepe) within or outside a church, home, public place or natural setting. The ...
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