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A German holy card from around 1910 depicting the crucifixion The earliest known woodcut, St Christopher, 1423, Buxheim, with hand-colouring Prayer card of the Holy Face of Jesus In the Christian tradition, holy cards or prayer cards are small, devotional pictures for the use of the faithful that usually depict a religious scene or a saint in ...
One popular example, The Life of the Priest Nichiren, was a woodblock print produced during the Tenna period (1611–1684), illustrating 17 events in Nichiren's life. It was likely used by religious adherents as a kind of reference work. [6] Nichiren shonin chugwasan, a similar work depicting 89 images of Nichiren's life, was published in 1632. [7]
Catholics use images, such as the crucifix, the cross, in religious life and pray using depictions of saints. They also venerate images and liturgical objects by kissing, bowing, and making the sign of the cross. They point to the Old Testament patterns of worship followed by the Hebrew people as examples of how certain places and things used ...
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Carlo Saraceni, Caravaggisti whose religious art includes an altarpiece in the Roman church of San Lorenzo in Lucina [523] [524] Andrea del Sarto, work includes paintings for the Santissima Annunziata, Florence [525] [526] Sassetta, like much of the Sienese School, he did religious art, including the Mystic Marriage of St. Francis [527] [528]
Outside these and similar movements, the establishment art world produced much less religious painting than at any time since the Roman Empire, though many types of applied art for church fittings in the Gothic style were made. Commercial popular Catholic art flourished using cheaper techniques for mass-reproduction.
The Pageant of Heraldry. An Explanation of Its Principles & Its Uses To-day, Etc. London: Pitman. Selvester, Guy. "Aspects of Heraldry in the Catholic Church". Personal website. Archived from the original on 27 August 2006; von Volborth, Carl Alexander (1987). The Art of Heraldry. Tiger Books. ISBN 1-85501-154-9.
That bond is perhaps stronger and more intimate in this picture than in any earlier work of art." [ 6 ] Dutch priest Henri Nouwen (1932–1996) was so taken by the painting that he eventually wrote a book, The Return of the Prodigal Son: A Story of Homecoming (1992), using the parable and Rembrandt's painting as frameworks.