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In another example, a miniature from Hildesheim c. 1160–80, there is no mechanical press and Christ just treads in a small vat which is, for once, circular. He is flanked by figures with banderoles, perhaps Isaiah and John the Evangelist. Christ's banderole has part of Isaiah 63:3, and those of the flanking figures Genesis 49:11 and Numbers ...
The portrayal of Jesus Christ's suffering prior to this event is meant to inspire not only pain, but hope. The idea of scherzo, a musical term referring to the lighthearted, playful segment of a symphony, is present in this scene, [14] invoking slight lightness, hope, and promise in anticipation of Christ's future resurrection.
The upper cover (not illustrated here, see note for image) is very lavishly studded with large gems, and uses low repoussé relief. [7] The composition also centres on a cross, but here a whole Crucifixion scene with a figure of Jesus on the cross and much smaller ones of the Virgin Mary and John the Evangelist.
The Latin term Christus dolens ("suffering Christ") is sometimes used for this depiction. The Pensive Christ is a similar depiction, and the usual composition of the Mass of Saint Gregory includes a vision of the Man of Sorrows .
The Christ as the Suffering Redeemer is a painting by the Italian Renaissance artist Andrea Mantegna, dated to c. 1488–1500 and housed in the Statens Museum for Kunst, Copenhagen, Denmark. [ citation needed ]
Lamentation by Giotto, 1305. The Lamentation of Christ [1] is a very common subject in Christian art from the High Middle Ages to the Baroque. [2] After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
A good example is from the Chora Church in Istanbul, where John the Baptist, Solomon and other figures are also present, depicting that Christ was not alone in the resurrection. [13] The depiction sequence at the 10th-century Hosios Loukas monastery in Greece shows Christ wearing a new tunic, with gold lines, after he has broken through the ...
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.