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The Madonna del Rosario, c. 6th century, (70.2 x 40.5 cm). The Madonna del Rosario is an icon of Mary commonly dated to the sixth century or earlier. [1] It is an early version of a type of icon known as the Agiosoritissa or the Maria Advocata, in which Mary is depicted without the Christ Child, with both hands raised.
Orans, a loanword from Medieval Latin orans (Latin: [ˈoː.raːns]) translated as "one who is praying or pleading", also orant or orante, as well as lifting up holy hands, is a posture or bodily attitude of prayer, usually standing, with the elbows close to the sides of the body and with the hands outstretched sideways, palms up.
God the Father with His Right Hand Raised in Blessing, with a triangular halo representing the Trinity, Girolamo dai Libri c. 1555. Prior to the 10th century no attempt was made to represent a separate depiction as a full human figure of God the Father in Western art. [3]
His right hand is raised in blessing. The term Virgin of the Sign or Our Lady of the Sign is a reference to the prophecy of Isaiah 7:14 : "Therefore the Lord himself shall give you a sign; Behold, a virgin shall conceive, and bear a son, and shall call his name Immanuel ".
The original version of the painting had a country landscape in the background, which was removed in a later replica, as it was deemed "non-liturgical". The Hyła rendition is also called the "Kraków Divine Mercy Image" because it is kept in the sanctuary at Kraków-Łagiewniki at the Divine Mercy Sanctuary, Kraków. Many artistic renditions ...
Lee Harvey Oswald clenched and raised his fist to salute photographers after he was arrested for assassinating President John F. Kennedy in 1963, and in 2011, far-right terrorist Anders Behring ...
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.
The motif of the hand, with no body attached, provides a problem for the artist in how to terminate it. In Christian narrative images the hand most often emerges from a small cloud, at or near the top of the image, but in iconic contexts it may appear cut off in the picture space, or spring from a border, or a victor's wreath (left).