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Protestant art continued the now-standard depiction of the physical appearance of Jesus. Meanwhile, the Catholic Counter-Reformation re-affirmed the importance of art in assisting the devotions of the faithful, and encouraged the production of new images of or including Jesus in enormous numbers, also continuing to use the standard depiction.
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 ...
This category is for specific works that include depictions of Jesus in the visual arts. For articles covering ways of depicting scenes or types of depictions of Jesus in general, see the sub-category Category:Iconography of Jesus. For images of Jesus as an infant with his mother, see Category:Virgin Mary in art.
The late 6th-century Rabbula Gospel book which includes one of the earliest Crucifixion sequences in a manuscript also depicts an empty tomb under the Crucifixion panel, with an angel seated there who greets two women. Rays of light strike down Roman soldiers, and Jesus greets the two women, who kneel to adore him. [8]
Christ Pantocrator mosaic in Byzantine style from the Cefalù Cathedral, Sicily. The most common translation of Pantocrator is "Almighty" or "All-powerful". In this understanding, Pantokrator is a compound word formed from the Greek words πᾶς, pas (GEN παντός pantos), i.e. "all" [4] and κράτος, kratos, i.e. "strength", "might", "power". [5]
His conversation is grave, infrequent, and modest. He is the most beautiful among the children of men. The description agrees with the so-called Abgar description of Jesus as well as the description of Jesus given by Nicephorus Callistus, St. John Damascene, and the Book of Painters (of Mount Athos). [4]
Tertullian states that Jesus's outward form was despised, that he had an ignoble appearance, and the slander he suffered proved the 'abject condition' of his body. [28] According to Irenaeus, he was a weak and inglorious man, [29] and in the Acts of Peter, he is described as small and ugly to the ignorant.
Rosso Fiorentino. Descent from the Cross. 1521.Oil on wood. 375 × 196 cm. Pinacoteca Comunale di Volterra, Italy.. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19, John 19:38–42).