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[1] [2] The depiction of the ladder reflects the importance of angels and demons in Eastern Orthodox spirituality. [2] The icon also shows a gaping maw, representing the Devil himself who is devouring a monk who has fallen from the ladder. [5] The ladder shows some monks who have almost reached the summit as being tempted by demons and falling. [6]
The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
Doom or "the Doom" was a specific term for the Last Judgement and first cited to c. 1200 by the OED ("doom", 6), a sense surviving in this artistic meaning and in phrases such as the "crack of doom" and the word "doomsday", the latter going back to Old English. The original OED in the late 19th century already described this sense of "doom" as ...
Heaven: The saved are entering Heaven, with Jesus and the saints, at the gate of Heaven an Angel prevents a demon from ensnaring a woman. Saint Peter is shown as the gatekeeper. Judgment: Christ is shown in glory while angels awake the dead; Hell: demons torment sinners according to their sins.
The Hand of God, or Manus Dei in Latin, also known as Dextera domini/dei (the "right hand of God"), is a motif in Jewish and Christian art, especially of the Late Antique and Early Medieval periods, when depiction of Yahweh or God the Father as a full human figure was considered unacceptable. The hand, sometimes including a portion of an arm ...
Yet, in early depictions of scenes from the Old Testament, artists used the conventional depiction of Jesus to represent the Father, [5] especially in depictions of the story of Adam and Eve, the most frequently depicted Old Testament narrative shown in Early Medieval art, and one that was felt to require the depiction of a figure of God ...
Late medieval images of Ecclesia and Synagoga represented the Christian doctrine of supersessionism, whereby the Christian New Covenant had replaced the Jewish Mosaic covenant [49] Sara Lipton has argued that some portrayals, such as depictions of Jewish blindness in the presence of Jesus, were meant to serve as a form of self-reflection rather ...
Images flourished within the Christian world, but by the 6th century, certain factions arose within the Eastern Church to challenge the use of icons, and in 726-30 they won Imperial support. [citation needed] The Iconoclasts actively destroyed icons in most public places, replacing them with the only religious depiction allowed, the cross.