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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.
And in this sense, the process of the painter appears clearly legible, able to develop the drawing and adapt it to the creative impulse that manifests itself free from the constraints of a predefined design, while the composition gradually adapts to the limits of the canvas to better convey the emotions of the story to the viewer.
Ivanov's painting "Christ's Appearance to Mary Magdalene after the Resurrection" (lithograph, 1862) The painting, entitled Christ's Appearance to Mary Magdalene, was completed in December 1835 and exhibited in the artist's studio. One of the visitors was the writer Alexei Timofeev, who offered the following commentary on the painting: "‘The ...
Scientists have re-created what they believe Jesus looked like, and he's not the figure we're used to seeing in many religious images. Forensic science reveals how Jesus really looked Skip to main ...
The accusation seems to be that unlike the austere John the Baptist, Christ lived like ordinary people, conversing with them. Lapide gives a couple of possible reasons for this, 1) "that His affability might allure those whom John’s austerity would terrify," 2) that Christ leave an example in everything, food, drink, clothing, etc., that it is not the things themselves, but an excessive love ...
The rays that stream out have symbolic meanings: red for the blood of Jesus, and pale for the water (which justifies souls). The whole image is a symbol of charity, forgiveness and love of God, referred to as the "Fountain of Mercy". According to Kowalska's diary, the image is based on her 1931 vision of Jesus. [1]
While earlier Northern artists showed Christ rising out of the tomb, but still with his feet on the ground, or the tomb itself, Matthias Grünewald's Isenheim Altarpiece (1505–1516) has a striking composition with Christ hovering in mid-air, which was already common in Italy, for example in a Raphael altarpiece of about 1500 (see gallery) and ...
The Good Shepherd, c. 300–350, at the Catacombs of Domitilla, Rome The Good Shepherd (Greek: ποιμὴν ὁ καλός, poimḗn ho kalós) is an image used in the pericope of John 10:1–21, in which Jesus Christ is depicted as the Good Shepherd who lays down his life for his sheep.