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A page from Kelileh va Demneh dated 1429, from Herat, a Persian translation of the Panchatantra – depicts the manipulative jackal-vizier, trying to lead his lion-king into war. In both Arab and Persian culture, the lion is regarded as a symbol of courage, bravery, royalty and chivalry. The depiction of lions is derived from earlier ...
From the middle of the 4th century, after Christianity was legalized by the Edict of Milan in 313, and gained Imperial favour, there was a new range of images of Christ the King, [47] using either of the two physical types described above, but adopting the costume and often the poses of Imperial iconography.
The iconography derives from Biblical texts, in particular Psalm 91 (90):13: [3] "super aspidem et basiliscum calcabis conculcabis leonem et draconem" in the Latin Vulgate, literally "The asp and the basilisk you will trample under foot/you will tread on the lion and the dragon", translated in the King James Version as: Thou shalt tread upon the lion and adder: the young lion and the dragon ...
Abgar Legend: a Christian legend of an alleged correspondence and exchange of letters between Jesus Christ with King Abgar V Ukkāmā of Osroene. Acheiropoieta: sacred Christian images "not made by hands" Depiction of Jesus; Keramidion: icon considered to be created by contact with the Image of Edessa; Relics associated with Jesus; Shroud of Turin
Sign of Lion in Persepolis; Achaemenid Persian relief University of Chicago Oriental Institute.. The Lion and Sun (Persian: شیر و خورشید, romanized: Šir-o Xoršid, pronounced [ˌʃiːɾo xoɾˈʃiːd]; Classical Persian: [ˌʃeːɾu xʷuɾˈʃeːd]) is one of the main emblems of Iran (), and was an element in Iran's national flag until the 1979 revolution and is still commonly used ...
The depiction sequence at the 10th-century Hosios Loukas monastery in Greece shows Christ wearing a new tunic, with gold lines, after he has broken through the gates of Hell. Christ then he pulls Adam, followed by Eve from his tomb, signifying the salvation of humanity after the resurrection. [17]
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After the recognition of the Church by Constantine I in 313, the Book of Revelation is the source from which are derived most of the decorative themes of Christian Art. The lamb is now the most important of these, and its meaning is either the same as before or, more frequently perhaps, it is symbolic of Christ the expiatory victim.
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