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Restored Mogao Christian painting, possibly a representation of Jesus Christ.The original work dates back to the 9th century. The Jingjiao Documents (Chinese: 景教經典; pinyin: Jǐngjiào jīngdiǎn; also known as the Nestorian Documents or the Jesus Sutras) are a collection of Chinese language texts connected with the 7th-century mission of Alopen, a Church of the East bishop from ...
The text is written in insular script, and is the best documented and most complete insular manuscript of the period. An Old English translation of the Gospels was made in the 10th century: a word-for-word gloss of the Latin Vulgate text, inserted between the lines by Aldred, Provost of Chester-le-Street.
The phrase translated into English as "Man of Sorrows" ("אִישׁ מַכְאֹבוֹת ", ’îš maḵ’ōḇōṯ in the Hebrew Bible, vir dolōrum in the Vulgate) occurs at verse 3 (in Isaiah 53): 3) He is despised and rejected of men, a Man of sorrows, and acquainted with grief.
The Morgan Bible is part of Morgan Library & Museum in New York (Ms M. 638). It is a medieval picture Bible.The Morgan Bible originally contained 48 folios; of these, 43 still reside in the Morgan Museum, two are in the Bibliothèque nationale de France, Paris, one is in the J. Paul Getty Museum, Los Angeles, and two have been lost. [3]
Christ in Majesty or Christ in Glory (Latin: Maiestas Domini) [1] is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context.
The distinctive English image, with Christ stepping on a soldier, in a 14th-century Nottingham alabaster relief. The resurrection of Jesus has long been central to Christian faith and Christian art, whether as a single scene or as part of a cycle of the Life of Christ.
The text on the silver foil invokes the name of the Christian God for protection. [14] The inscription refers to Jesus Christ multiple times and identifies him as the Son of God. [15] It is mostly complete, except for a few gaps on the left margin that can be interpreted in different ways. [10]
The cross-on-lotus symbol carved on the Xi'an Stele, which can also be seen in the headdress worn by the figure in this painting.. According to Meicun Lin (a professor of the School of Archeology and Museology at Peking University) and Szonja Buslig (a lecturer of Eötvös Loránd University), they believe that the style of this painting deliberately imitates the reliefs at Taq-i Bustan, a ...