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Protestant art continued the now-standard depiction of the physical appearance of Jesus. Meanwhile, the Catholic Counter-Reformation re-affirmed the importance of art in assisting the devotions of the faithful, and encouraged the production of new images of or including Jesus in enormous numbers, also continuing to use the standard depiction.
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 image of the Divine Mercy is a depiction of Jesus Christ that is based on the Divine Mercy devotion initiated by Faustina Kowalska. According to Kowalska's diary, Jesus told her "I promise that the soul that will venerate this image will not perish. I also promise victory over enemies already here on earth, especially at the hour of death.
The earliest known surviving depiction of Jesus Christ as Pantocrator (literally ruler of all), it is regarded by historians and scholars among the most important and recognizable works in the study of Byzantine art as well as Eastern Orthodox and Eastern Catholic Christianity. [2]
Another 20th-century depiction of Jesus, namely the Divine Mercy image, is based on Faustina Kowalska's reported vision, which she described in her diary as a pattern that was then painted by artists. [78] The depiction is now widely used among Catholics, and it has more than a hundred million followers worldwide. [78] [79]
It turns out the most accurate depiction of Jesus Christ may be on a bronze coin from the 1st century AD. The image on the coin was believed to be of Manu, the King of Edessa, which is today ...
Nativity images became increasing popular in panel paintings in the 15th century, although on altarpieces the Holy Family often had to share the picture space with donor portraits. In Early Netherlandish painting the usual simple shed, little changed from Late Antiquity, developed into an elaborate ruined temple, initially Romanesque in style ...
Such images functioned as powerful relics as well as icons, and their images were naturally seen as especially authoritative as to the true appearance of the subject. Like other icon types believed to be painted from the live subject, such as the Hodegetria (thought to have been painted by Luke the Evangelist), they therefore acted as important references for other images in the tradition.