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The majority of early Christian art depicts The Holy Spirit in an anthropomorphic form as a human with two other Identical human figures representing God the Father and Jesus Christ. They either sit or they stand grouped together. This is used to portray the unity of the Most Holy Trinity. [7] [8]
Fire, especially in the form of a candle flame, represents both the Holy Spirit and light. These symbols derive from the Bible; for example from the tongues of fire [27] that symbolized the Holy Spirit at Pentecost, and from Jesus' description of his followers as the light of the world; [28] or God is a consuming fire found in Hebrews 12. [29]
Therefore since we are God's offspring, we should not think that the divine being is like gold or silver or stone—an image made by man's design and skill. In the past God overlooked such ignorance, but now he commands all people everywhere to repent. For he has set a day when he will judge the world with justice by the man he has appointed.
Bonaventure's Opusculum 3, Lignum vitae (a part from which is the reading for the Divine Office on the Solemnity of the Sacred Heart) refers to the heart as the fountain from which God's love poured into one's life: Take thought now, redeemed man, and consider how great and worthy is he who hangs on the cross for you.
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 ...
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but images of God the Father were not among them. [17] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be depicted. [citation needed]
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Hunt believed the fire to be a pious fraud which brought Christianity into disrepute. He intended the painting to be a satire in the manner of William Hogarth. Hunt published an elaborate keyplate explaining the identity of the various characters depicted. It is now in the Fogg Art Museum, Cambridge, Massachusetts.