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Images of Jesus tend to show ethnic characteristics similar to those of the culture in which the image has been created. Beliefs that certain images are historically authentic, or have acquired an authoritative status from Church tradition, remain powerful among some of the faithful, in Eastern Orthodoxy, Lutheranism, Anglicanism, and Roman ...
Christ Pantocrator mosaic in Byzantine style from the Cefalù Cathedral, Sicily. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words πᾶς, pas (GEN παντός pantos), i.e. "all" [4] and κράτος, kratos, i.e. "strength", "might", "power". [5]
[40] In other words, image making relies on human sources rather than on divine revelation. Another typical Christian argument for this position might be that God was incarnate as a human being, not as an object of wood, stone or canvas, and therefore the only God-directed service of images permitted is the service of other people.
Stephen L. Harris claims that John adapted Philo's concept of the Logos, identifying Jesus as an incarnation of the divine Logos that formed the universe. [7]While John 1:1 is generally considered the first mention of the Logos in the New Testament, arguably, the first reference occurs in the book of Revelation.
The latest image is a stark contrast to how He is portrayed in paintings and pictures who appears leaner with long flowy hair. Earlier this year a picture re-emerged that showed what Jesus might ...
The Revelation of Jesus Christ, which God gave unto him, to shew unto his servants things which must shortly come to pass; and he sent and signified it by his angel unto his servant John. "Revelation" and "Apocalypse" are respectively a translation and an anglicisation of the original Koine Greek word ἀποκάλυψις , which can also mean ...
The Light of the World (Keble College version). The Light of the World (1851–1854) is an allegorical painting by the English Pre-Raphaelite artist William Holman Hunt (1827–1910) representing the figure of Jesus preparing to knock on an overgrown and long-unopened door, illustrating Revelation 3:20: "Behold, I stand at the door and knock; if any man hear My voice, and open the door, I will ...
God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.