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The church father John of Damascus argued "that God's taking on human form sanctified the human image, noting that the humanity of Christ formed an image of God; therefore, artists could use human images to depict the incarnate Word as well as human saints."
For example, Marian apparitions that depict Mary as the eschatological image of the church: shining like the Sun, wearing a beautiful crown, etc. Another example is saints visiting heaven. Some visits describe heaven in material or physical terms, such as the vision of Anna Schäffer: While I was praying, I was enraptured from the world.
The Catholic Church teaches that no one is predestined to Hell, and that the church's teaching on Hell is not meant to frighten but is a call for people to use their freedom wisely. It is first and foremost a call to conversion, and to show that Humanity's true destiny lies with God in heaven.
Revelation 5:8 presents the saints in Heaven as linked by prayer with their fellow Christians on earth. The communion of saints (Latin: commūniō sānctōrum, Ancient Greek: κοινωνίᾱ τῶν Ἁγῐ́ων, romanized: koinōníā tôn Hagíōn), when referred to persons, is the spiritual union of the members of the Christian Church, living and the dead, but excluding the damned. [1]
The Harrowing of Hell was taught by theologians of the early church: St Melito of Sardis (died c. 180) in his Homily on the Passover and more explicitly in his Homily for Holy Saturday, Tertullian (A Treatise on the Soul, 55, though he himself disagrees with the idea), Hippolytus (Treatise on Christ and Anti-Christ), Origen (Against Celsus, 2: ...
The ascent of the monks is assisted by the prayers of angels, saints and the community, while demons attack and try to make monks fall from the ladder by pulling them down or striking them with arrows. [1] [2] The depiction of the ladder reflects the importance of angels and demons in Eastern Orthodox spirituality. [2]
Ascension of Christ and Noli me tangere, c. 400, ivory, Milan or Rome, now in Munich.See below for a similar Ascension 450 years later.. New Testament scenes that appear in the Early Christian art of the 3rd and 4th centuries typically deal with the works and miracles of Jesus such as healings, the multiplication of the loaves or the raising of Lazarus. [3]
Traditio legis, or "transmission of the law", Christ as lawgiver, [2] mosaic, Basilica of San Lorenzo, Milan, 4th century, includes a scroll box at Christ's feet.. From the latter part of the fourth century, a still beardless Christ begins to be depicted seated on a throne on a dais, often with his feet on a low stool and usually flanked by Saints Peter and Paul, and in a larger composition ...