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For example, Dorothy A. Lee lists several discrepancies between Hebrew betrothal scenes and John 4: "the Samaritan woman is not a young Jewish virgin and no betrothal takes place; the well is not concerned with sexual fertility but is an image of salvation (see Isa. 12:3); Jesus is presented not as a bridegroom but as giver of living water." [12]
The Sunday of the Samaritan Woman [6] is the Fifth Sunday of Pascha, commemorating the Woman by the well, (traditionally known as Photina in Greek or Svetlana in Russian), as recounted in the Gospel reading for the day, John 4:5-42.
John 4:1–42. Orthodox icon of Photina, the Samaritan woman, meeting Jesus by the well. The in-depth account about Jesus and the Samaritan Woman at the Well is highly significant for understanding Jesus in several relationships: Samaritans, women, and sinners. By talking openly with this woman, Jesus crossed a number of barriers which normally ...
John 4 is the fourth chapter of the Gospel of John in the New Testament of the Christian Bible. The eternality of Jesus. The major part of this chapter (verses 1-42) recalls Jesus' conversation with the Samaritan woman at the well in Sychar. In verses 43-54, he returns to Galilee, where he heals a royal official's son.
Many incidents from John, such as the wedding in Cana, the encounter of Jesus with the Samaritan woman at the well, and the raising of Lazarus, are not paralleled in the synoptics, and most scholars believe the author drew these from an independent source called the "signs gospel", the speeches of Jesus from a second "discourse" source, [93 ...
Christ and the Samaritan Woman (1593-1594) Christ and the Samaritan Woman or The Woman at the Well is a 1593-1594 oil on canvas painting by Annibale Carracci, painted as part of the same scheme as the Palazzo Sampieri frescoes. Several years later he also produced a much smaller autograph copy with variations, now in the Museum of Fine Arts ...
Christ and the Samaritan Woman at the Well is a painting in oils on canvas of 1796 by Angelica Kauffman, depicting the eponymous Gospel passage.It was bought from the artist's estate in 1829 by Louis I of Bavaria and remained in the House of Wittelsbach until it was transferred to the Wittelsbacher Ausgleichsfonds in 1926; it then passed to the State of Bavaria in 1938.
Harmonious and powerful colours [4] and the soft-brushed, multi-layered style of English portraitists, Sir Joshua Reynolds and Thomas Gainsborough, [5] are typical for Kauffman's paintings. Christ and the Samaritan Woman at the Well (1795), oil on canvas, 123.5 x 158.5 cm., Neue Pinakothek, Munich. Kauffman was born at Chur in Graubünden ...