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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.
The sacred texts of some religions disallow icon worship, but over time, the texts themselves may come to be treated as sacred in the way idols are; believers may end up worshipping the book in effect. [6] Bibliolatry extends claims of Biblical inerrancy to the texts, precluding theological innovation, evolving development, or progress.
Moses Indignant at the Golden Calf, painting by William Blake, 1799–1800. Idolatry is the worship of an idol as though it were a deity. [1] [2] [3] In Abrahamic religions (namely Judaism, Samaritanism, Christianity, the Baháʼí Faith, and Islam) idolatry connotes the worship of something or someone other than the Abrahamic God as if it were God.
In many contexts "cult image" specifically means the most important image in a temple, kept in an inner space, as opposed to what may be many other images decorating the temple. The term idol is an image or representation of a god used as an object of worship, [1] [2] [3] while idolatry is the worship of an "idol" as though it were God. [4] [5] [6]
Some Sthanakvasi monks from Gujarat. Sthānakavāsī is a sect of Śvetāmbara Jainism which was created in the medieval era. The Sthanakvasi, whose name refers to the sect’s preference for performing religious duties at a secular place such as a monks’ meetinghouse (sthanak) rather than at a temple, is different from the Murtipujaka sect in that it rejects idolatry.
The Greeks created images of their deities for many purposes. A temple would house the statue of a god or goddess, or multiple deities, and might be decorated with relief scenes depicting myths. Divine images were common on coins. Drinking cups and other vessels were painted with scenes from Greek myths.
Walt Disney is a thing, an image, an expectation by our fans. It’s all Walt Disney—we all think alike in the ultimate pattern. I’m not Walt Disney anymore.” In the end, the pictures still told the story in the annual report. Walt okayed the images and caption copy identify-ing the Disney project only. No names were used; no indi-
Such images functioned as powerful relics as well as icons, and their images were naturally seen as authoritative as to the true appearance of the subject: naturally and especially because of the reluctance to accept mere human productions as embodying anything of the divine, a commonplace of Christian deprecation of man-made "idols". Like ...