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Religious images in Christian theology have a role within the liturgical and devotional life of adherents of certain Christian denominations. The use of religious images has often been a contentious issue in Christian history. Concern over idolatry is the driving force behind the various traditions of aniconism in Christianity.
As a biblical reference, the metaphor may refer to physical armour worn by God in metaphorical battles, or it may refer to vigilant righteousness in general as bestowed by the grace of God (Romans 13:12, King James Version): "The night is far spent, the day is at hand: let us therefore cast off the works of darkness, and let us put on the ...
An early example of the miles christianus allegory in a manuscript of the Summa Vitiorum by William Peraldus, mid 13th century.The knight is equipped with a detailed Armour of God, including an early depiction of the Shield of the Trinity, and he is crowned by an angel holding the gloss non coronabuntur nisi qui legitime certaverint "none will be crowned but those who truly struggle" and in ...
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]
Images flourished within the Christian world, but by the 6th century, certain factions arose within the Eastern Church to challenge the use of icons, and in 726-30 they won Imperial support. [ citation needed ] The Iconoclasts actively destroyed icons in most public places, replacing them with the only religious depiction allowed, the cross .
Much Christian art borrowed from Imperial imagery, including Christ in Majesty, and the use of the halo as a symbol of sanctity. Late Antique Christian art replaced classical Hellenistic naturalism with a more abstract aesthetic. The primary purpose of this new style was to convey religious meaning rather than accurately render objects and people.
Job sitting among the ashes was the symbol of patience and of the power of resistance of the flesh; and Hananiah, Mishael, and Azariah in the fiery furnace typified steadfastness in persecution and faith in the aid of God. Christian sarcophagi contained artistic representations of the fall of man, Noah and the ark, scenes from the life of Moses ...
The angel who rescues Shadrach, Meshach, and Abednego from the "fiery furnace" in the Book of Daniel Chapter 3 is usually regarded in Christian tradition as Michael; this is sometimes represented in Early Christian art and Eastern Orthodox icons, but rarely in later art of the Western church.