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Child Jesus Salvator Mundi (17th century), Portugal. Salvator Mundi, Latin for Saviour of the World, is a subject in iconography depicting Christ with his right hand raised in blessing and his left hand holding an orb (frequently surmounted by a cross), known as a globus cruciger.
[12] [14] The system of clothing patterns was however established in the Han dynasty, where the types and the number of ornaments was regulated based on a person's ranks. [12] In the Sui dynasty , the twelve ornaments were reserved for the Emperor exclusively; Emperor Yang Sui established a system which defined the exact location of these ...
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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 ...
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]
The picture depicts the Baptism of Jesus by John the Baptist as recorded in the Biblical Gospels of Matthew, Mark and Luke. The angel to the left is recorded as having been painted by the youthful Leonardo, a fact which has excited so much special comment and mythology, that the importance and value of the picture as a whole and within the ...
Millais likely used Albrecht Dürer's print Melancholia I as a source for this imagery, along with Quattrocento works. The sheep in the sheepfold seen through the door represent the future Christian flock. [1] It has been suggested that Millais was influenced by John Rogers Herbert's painting Our Saviour Subject to His Parents at Nazareth. [2]
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