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In Eastern Christianity, the most widely used Christogram is a four-letter abbreviation, ΙϹ ΧϹ—a traditional abbreviation of the Greek words for 'Jesus Christ' (i.e., the first and last letters of each of the words ΙΗϹΟΥϹ ΧΡΙϹΤΟϹ, with the lunate sigma 'Ϲ' common in medieval Greek), [23] and written with titlo (diacritic ...
The Latinized version of the letters IHS (Iesus Hominum Salvator) were extremely popular during Byzantine times. The Latin version means Jesus Savior of Humankind. Another version was In Hoc Signo (In this sign). Ιησούς Ήμέτερος Σωτήρ (Jesus Our Savior) is another usage of the three Greek letters ΙΗΣ. [3]
The Letter of Lentulus (/ ˈ l ɛ n t j ə l ə s /) is an epistle of mysterious origin that was first widely published in Italy in the fifteenth century. It purports to be written by a Roman official, contemporary of Jesus , and gives a physical and personal description of Jesus.
The Chi Rho (☧, English pronunciation / ˈ k aɪ ˈ r oʊ /; also known as chrismon [1]) is one of the earliest forms of the Christogram, formed by superimposing the first two (capital) letters—chi and rho (ΧΡ)—of the Greek ΧΡΙΣΤΟΣ (rom: Christos) in such a way that the vertical stroke of the rho intersects the center of the chi.
It is inscribed on one side with three lines, of which the first one written in Hebrew is mostly destroyed. The second line is written in Greek letters and reversed script, the third in Latin letters, also with reversed script.
IX monogram. The IX monogram or XI monogram is a type of early Christian monogram looking like the spokes of a wheel, sometimes within a circle. [1]The IX monogram is formed by the combination of the letter "I" or Iota for Iesous (Ιησους, Jesus in Greek) and "X" or Chi for Christos (Χριστος, Christ in Greek).
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:Madonna and Child in art.
The face that Neave constructed suggested that Jesus would have had a broad face and large nose, and differed significantly from the traditional depictions of Jesus in renaissance art. [82] Additional information about Jesus' skin color and hair was provided by Mark Goodacre, a New Testament scholar and professor at Duke University. [82]