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The art of the Middle Ages was mainly religious, reflecting the relationship between God and man, created in His image. The animal often appears confronted or dominated by man, but a second current of thought stemming from Saint Paul and Aristotle, which developed from the 12th century onwards, includes animals and humans in the same community of living creatures.
In Judaism, the rabbit is considered an unclean animal, because "though it chews the cud, does not have a divided hoof." [2] [note 1] This led to derogatory statements in the Christian art of the Middle Ages, and to an ambiguous interpretation of the rabbit's symbolism. The "shafan" in Hebrew has symbolic meaning.
It affords an easy medium of expressing or symbolizing a virtue or a vice, by means of the virtue or vice usually attributed to the animal represented. Animal forms were traditional elements of decoration. Medieval designers returned to the direct study of nature, including man, the lower animals, and the humblest plants.
German: Dreihasenfenster, lit. 'Window of Three Hares' in Paderborn Cathedral The three hares (or three rabbits) is a circular motif appearing in sacred sites from East Asia, the Middle East and the churches of Devon, England (as the "Tinners' Rabbits"), [1] and historical synagogues in Europe.
Artistic depictions of events, people, and mythology from the Jewish Torah and Christian Bible. Subcategories This category has the following 6 subcategories, out of 6 total.
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The tetramorphs were especially common in Early Medieval art, above all in illuminated Gospel books, but remain common in religious art to the present day. In Christian art , the tetramorph is the union of the symbols of the Four Evangelists , derived from the four living creatures in the Book of Ezekiel , into a single figure or, more commonly ...