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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.
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 ...
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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
In images where the creatures surround Christ, the winged man and the eagle are often depicted at Christ's sides, with the lion and the ox positioned lower by his feet, with the man on Christ's right, taking precedence over the eagle, and the lion to the left of the ox. These positions reflect the medieval great chain of being. [16]
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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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