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The Veil of Veronica (Latin: Sudarium, 'sweat-cloth'), often called simply "The Veronica" and known in Italian as the Volto Santo or Holy Face (but not to be confused with the carved crucifix the Volto Santo of Lucca), is a Christian relic of a piece of cloth which, according to tradition, bears the image of Jesus' face. Various existing images ...
Images of Jesus tend to show ethnic characteristics similar to those of the culture in which the image has been created. Beliefs that certain images are historically authentic, or have acquired an authoritative status from Church tradition, remain powerful among some of the faithful, in Eastern Orthodoxy, Lutheranism, Anglicanism, and Roman ...
[19] Partly this has been fed by the classical mandolin music tradition, preserved in Japan and Korea. [19] French culture accepts music from around the globe, including former colonies — the Maghreb. [19] Algeria, in particular, had a mandolin culture and created its own mandolin family instrument, the mandole. Other mandolin imports to ...
Nativity images became increasing popular in panel paintings in the 15th century, although on altarpieces the Holy Family often had to share the picture space with donor portraits. In Early Netherlandish painting the usual simple shed, little changed from Late Antiquity, developed into an elaborate ruined temple, initially Romanesque in style ...
The tradition of so-called "classical music" for the mandolin has been somewhat spotty, due to its being widely perceived as a "folk" instrument. Significant composers did write music specifically for the mandolin, but few large works were composed for it by the most widely regarded composers.
C. The Calling of Saints Peter and Andrew; The Calling of Saint Matthew; Cardinal Albert of Brandenburg before Christ on the Cross; Christ Among the Doctors (Dürer)
A controversy has ensued in Spain over an artwork created for Easter week in Seville, with some seeing the image of Jesus created by artist Salustiano García as sexualized and offensive, which ...
As historians sorted instruments and traditions, it became understood that the current mandolin may not be a true descendant of the mandola, and that it may represent a blending of instrument-making traditions. The mandore or mandola of the 16th and 17th centuries was not the final form. It was redesigned in Northern Italy.