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A monstrance, also known as an ostensorium (or an ostensory), [1] is a vessel used in Roman Catholic, Old Catholic, High Church Lutheran and Anglican churches for the display on an altar of some object of piety, such as the consecrated Eucharistic Sacramental bread (host) during Eucharistic adoration or during the Benediction of the Blessed Sacrament.
The lunette, containing the consecrated Host, is placed in the centre of a vessel known as a monstrance, or ostensory, which can be mounted or carried within the church. The lunette is often kept in another object, sometimes called a lunette or lunula case, which is usually a round box often on a small stand, serving to hold the Host upright.
Some forms of folk Catholic practices are based on syncretism with non-Christian or otherwise non-Catholic beliefs or religions. Some of these folk Catholic forms have come to be identified as separate religions, as is the case with Caribbean and Brazilian syncretism between Catholicism and West African religions, which include Haitian Vodou, Cuban Santería, and Brazilian Candomblé.
The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance [35]. Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis.
Sometimes his robes are gold or white, symbolizing divine glory; sometimes they are blue and red, symbolizing the two natures of Christ (see Christology). His face is depicted as that of an old man, indicating the Christian teaching that he was at one and the same time both a fully human infant and fully the eternal God, one of the Trinity.
The Disputation of the Sacrament (Italian: La disputa del sacramento), or Disputa, is a painting by the Italian Renaissance artist Raphael.It was painted between 1509 and 1510 [1] as the first part of Raphael's commission to decorate with frescoes the rooms that are now known as the Stanze di Raffaello, in the Apostolic Palace in the Vatican.
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Orthodox images more often contained inscriptions with the names of saints, so the Eastern repertoire of attributes is generally smaller than the Western. Many of the most prominent saints, like Saint Peter and Saint John the Evangelist can also be recognised by a distinctive facial type. Some attributes are general, such as the martyr's palm. [4]
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