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Two of the more puzzling details of the painting are, one, the fact that the heads of Jesus and St. John seem to visually meld together in the upper left corner, and, two, the fact of the prominent presence, in the very centre of the canvas and in the foremost plane of the picture, of the arresting officer's highly polished, metal-clad arm.
Jesus has cut his hand on an exposed nail, symbolizing the stigmata and foreshadowing Jesus's crucifixion. Some of the blood has fallen onto his foot. As Jesus's grandmother, Anne, removes the nail with a pair of pincers, his concerned mother, Mary, offers her cheek for a kiss. Joseph examines Jesus's wounded hand.
The painting is another mirror to the Middle Ages inscriptions on images related to a Christ on the cross or the Passion of the Lord that would say, “Aspice qui transis, quia tu mihi causa doloris (look here, you who are passing by, for you are the cause of my pain).” [15] In addition to being in front of his open injuries, the fabric ...
The painting is known as the Christ of Saint John of the Cross, because its design is based on a drawing by the 16th-century Spanish friar John of the Cross. [1] The composition of Christ is also based on a triangle and circle (the triangle is formed by Christ's arms; the circle is formed by Christ's head).
According to the Gospel of John, Thomas the Apostle missed one of Jesus's appearances to the Apostles after his resurrection, and said "Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it." [2] A week later, Jesus appeared and told Thomas to touch him and stop ...
The discovery came after researchers evaluated drawings found in various archaeological sites in Israel. Thus the dark skin, eyes and traditional Jewish beard with short, curly hair.
The hand on the foreshortened left arm of the figure of Saint John is once again the object of an exercise in contrast, the dark fingers being delineated by traces of white light. Saint John's revelationary stance is one of the motors of the painting, he being the only figure looking up in the direction of the broken Christ, and his awed ...
Most images of Jesus have in common a number of traits which are now almost universally associated with Jesus, although variants are seen. The conventional image of a fully bearded Jesus with long hair emerged around AD 300, but did not become established until the 6th century in Eastern Christianity , and much later in the West.