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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.
Though their development was gradual, it is possible to date the full-blown appearance and general ecclesiastical (as opposed to simply popular or local) acceptance of Christian images as venerated and miracle-working objects to the 6th century, when, as Hans Belting writes, [35] "we first hear of the church's use of religious images".
Jesus healing the bleeding woman, Roman catacombs, 300–350. Early Christian art and architecture (or Paleochristian art) is the art produced by Christians, or under Christian patronage, from the earliest period of Christianity to, depending on the definition, sometime between 260 and 525.
The most common form of anchor found in early Christian images was that in which one extremity terminates in a ring adjoining the cross-bar while the other ends in two curved branches or an arrowhead; There are, however, many deviations from this form. [24] In general the anchor can symbolize hope, steadfastness, calm and composure. [25]
Murals and altarpiece art also fill churches with intricate and expressive Christian images. During the development of early Christian art in the Byzantine empire (see Byzantine art), a more abstract aesthetic replaced the naturalism previously established in Hellenistic art. This new style was hieratic, meaning its primary purpose was to ...
The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance [35]. Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis.
Didron, Adolphe Napoléon, Christian Iconography: Or, The History of Christian Art in the Middle Ages, Translated by Ellen J. Millington, H. G. Bohn, (Original from Harvard University, Digitized for Google Books) – Volume I, Part I (pp. 25–165) is concerned with the halo in its different forms, though the book is not up to date. Dodwell, C. R.,
The use of religious images in general continued to increase up to the end of the 7th century, to the point that in 695, upon assuming the throne, Byzantine emperor Justinian II put an image of Christ on the obverse side of his gold coins, resulting in a rift which ended the use of Byzantine coin types in the Islamic world. [9]
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