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The Klosterneuburg Altar, made in 1181 by Nicholas of Verdun, includes the scene with this meaning. [23] Another biblical theme linked to the winepress referenced by commentators was the allegory of the "Vineyard of God" or "True Vine", found in Isaiah 27:2–5, John 15:1 and Matthew 21:33–45, understood as a metaphor for the church. [24]
Dionysus, Greek god of wine, usually identified with the Roman Bacchus. Du Kang, Chinese Sage of wine. Inventor of wine and patron to the alcohol industry. Hathor, Egyptian goddess of love, passion, wine, and drunkenness. Inari, Shinto goddess of sake. Li Bai, Chinese god of wine and sage of poetry. Liber, a Roman god of wine. Liu Ling, Chinese ...
His attribute of "foreignness" as an arriving outsider-god may be inherent and essential to his cults, as he is a god of epiphany, sometimes called "the god who comes". [12] Wine was a religious focus in the cult of Dionysus and was his earthly incarnation. [13] Wine could ease suffering, bring joy, and inspire divine madness. [14]
Two episodes from the Passion-cycle murals of Öja Church, Gotland. The iconic significance of the Chalice grew during the Early Middle Ages. Depictions of Jesus praying in the Garden of Gethsemane, such as that in the fourteenth-century frescoes of the church at Öja, Gotland (illustration, right), show a prefigured apparition of the Holy Chalice that stands at the top of the mountain ...
Most wine glasses are stemware, composed of three parts: the bowl, stem, and foot. In some designs, the opening of the glass is narrower than the widest part of the bowl to concentrate the aroma. [1] Others are more open, like inverted cones. In addition, "stemless" wine glasses (tumblers) are available in a variety of sizes and shapes. [5]
Religious images in Christian theology have a role within the liturgical and devotional life of adherents of certain Christian denominations. 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.
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.
But images of God the Father were not directly addressed in Constantinople in 869. A list of permitted icons was enumerated at this Council, but images of God the Father were not among them. [17] However, the general acceptance of icons and holy images began to create an atmosphere in which God the Father could be depicted. [citation needed]