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The depiction of the Virgin Mary is done according to traditional Christian iconography, and represents her Immaculate Conception, free from original sin. Standard iconographic elements include the dove above her, the stars around her head, her position on the crescent moon with a snake crushed under her feet, her hands held together in prayer ...
Russian icon of the Old Testament Trinity by Andrei Rublev, between 1408 and 1425. The Holy Trinity is an important subject of icons in Eastern Orthodox Christianity, and has a rather different treatment from depictions in the Western Churches.
Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media. Images of Jesus and narrative scenes from the Life of Christ are the most common subjects, and scenes from the Old Testament play a part in the art of most denominations.
Baroque Trinity, Hendrick van Balen, 1620, (Sint-Jacobskerk, Antwerp) Holy Trinity, fresco by Luca Rossetti da Orta, 1738–39 (St. Gaudenzio Church at Ivrea). The Trinity is most commonly seen in Christian art with the Holy Spirit represented by a dove, as specified in the gospel accounts of the baptism of Christ; he is nearly always shown with wings outspread.
Religious images in Christian theology have a role within the liturgical and devotional life of adherents of certain Christian denominations. The use of religious images has often been a contentious issue in Christian history. Concern over idolatry is the driving force behind the various traditions of aniconism in Christianity.
Much Christian art borrowed from Imperial imagery, including Christ in Majesty, and the use of the halo as a symbol of sanctity. Late Antique Christian art replaced classical Hellenistic naturalism with a more abstract aesthetic. The primary purpose of this new style was to convey religious meaning rather than accurately render objects and people.
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.