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An interesting feature of the poem is the second quatrain's two extended enumerations using 1-syllable words [6] that are very rare in the Polish language. A similar poetic device [7] [8] (Dźwięk, cień, dym, wiatr, błysk, głos, punkt - żywot ludzki słynie [9]) was used earlier by another Polish baroque poet, Daniel Naborowski in the poem "The Brevity of Life" (in Polish Krótkość ...
Lamentation by Giotto, 1305. The Lamentation of Christ [1] is a very common subject in Christian art from the High Middle Ages to the Baroque. [2] After Jesus was crucified, his body was removed from the cross and his friends mourned over his body.
The Lamentation of Christ is a topic in Christian religious art, especially popular in the High Medieval, Renaissance, and Baroque periods, which depicts the moment of mourning following the Crucifixion and lowering of Christ's body from the cross. Mantegna's variant includes some aspects commonly associated with the scene, including the ...
The central panel illustrates a tension between the multitude of massively muscled men attempting to lift the cross and the seemingly unbearable weight of Christ on the cross. [1] Christ's suffering is made apparent in his strained and tense body, hands clenched tight around the nails in his hands, and his head contorted in the last moments of ...
The most popular Tagalog version of the Pasyón today is the Casaysayan nang Pasiong Mahal ni Hesucristong Panginoon Natin na Sucat Ipag-alab nang Puso nang Sinomang Babasa (modern orthography: “Kasaysayan ng Pasyóng Mahál ni Hesukristong Panginoón Natin na Sukat Ipág-alab ng Pusò ng Sínumang Babasa”, "The Story of the Passion of Jesus Christ, Our Lord, which Rightly Shall Ignite the ...
[3] [7] Mary's upper body is somewhat rigid, stiff and awkward, compared to the fluidity of Christ, and the lower layers of her dress. [6] According to art historian William Forsyth, the "large soft folds of the Virgin's cloak around her legs and over her body clothe her with majesty befitting so august a mourner".
The imprint left by the tortured body of the Crucified One, which attests to the tremendous human capacity for causing pain and death to one's fellow man, stands as an icon of the suffering of the innocent in every age." [73] On 30 March 2013, as part of the Easter celebrations, there was an exposition of the shroud in the Cathedral of Turin.
Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period – devotional images detached from the narrative of Christ's Passion, intended for meditation. The Latin term Christus dolens ("suffering Christ") is sometimes used for this depiction.