Search results
Results from the WOW.Com Content Network
God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.
Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period – devotional images detached from the narrative of Christ's Passion, intended for meditation. The Latin term Christus dolens ("suffering Christ") is sometimes used for this depiction.
In art the Instruments either surrounded an image of Christ in andachtsbilder subjects such as the Man of Sorrows, or might appear by themselves - often the image of Christ's face on the Veil of Veronica was the focal point of the image. In both cases the purpose of the representations was to symbolize the sufferings of Christ during his Passion.
Peter Leithart notes that while the cross and resurrection are often thought of as a "U-shaped series of events", John's gospel, with its emphasis on the cross as the being the glorification of Christ (John 12:23), "pictures the death, resurrection, and ascension as points along a straight line, with a steep positive slope. The cross is not ...
In the Cross of Christ not only is the Redemption accomplished through suffering, but also human suffering itself has been redeemed,. Christ, - without any fault of his own - took on himself "the total evil of sin". The experience of this evil determined the incomparable extent of Christ's suffering, which became the price of the Redemption. [8]
The portrayal of Jesus Christ's suffering prior to this event is meant to inspire not only pain, but hope. The idea of scherzo , a musical term referring to the lighthearted, playful segment of a symphony, is present in this scene, [ 14 ] invoking slight lightness, hope, and promise in anticipation of Christ's future resurrection .
"Pensive Christ" (Chrystus Frasobliwy) by Władysław SkoczylasThe Pensive Christ (German: Christus im Elend – 'Christ in Distress' or Christus in der Rast; Polish: Chrystus Frasobliwy – 'Worried Christ'; Lithuanian: Rūpintojėlis) is a subject in Christian iconography depicting a contemplating Jesus, sitting with his head supported by his hand with the Crown of Thorns and marks of his ...
[2] By Christ satisfying our debt of honor to God, we avoid punishment. In Calvinist penal substitution, it is the punishment which satisfies the demands of justice. [citation needed] Another distinction must be made between penal substitution (Christ punished instead of us) and substitutionary atonement (Christ suffers for us).