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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. In the early Church, Christians used the Ichthys (fish) symbol to identify Christian places of worship and Christian homes. [1]
Lutheran art consists of all religious art produced for Lutherans and the Lutheran churches.This includes sculpture, painting, and architecture. Artwork in the Lutheran churches arose as a distinct marker of the faith during the Reformation era and attempted to illustrate, supplement and portray in tangible form the teachings of Lutheran theology.
Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art.
In the Church of the East, pejoratively but incorrectly also known as the Nestorian Church by its detractors, opposition to religious images eventually became the norm due to the rise of Islam in the region, where it forbade any type of depictions of Saints and biblical prophets. As such, the Church was forced to get rid of their icons.
Calvinism even objected to non-religious funerary art, such as the heraldry and effigies beloved of the Renaissance rich. [14] Where there was religious art, iconic images of Christ and scenes from the Passion became less frequent, as did portrayals of the saints and clergy. Narrative scenes from the Bible, especially as book illustrations and ...
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".
Sopocko was a professor of theology at the University of Vilnius and introduced Kowalska to Kazimirowski, who was a professor of art there and had painted other religious images. Kowalska gave Kazimirowski specific instructions about the appearance and the posture of the image, which she said she had received from Jesus Christ in a vision.
In 1881 he helped to found the National Conference of Unitarian, Liberal Christian, Free Christian, Presbyterian and other Non-Subscribing or Kindred Congregations—"a triumph, one might say, of Victorian verbosity. But the length of the name reflected the breadth of Martineau's vision". [3]