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To a fifteenth-century audience, the Seven Heavenly Virtues represented a combination of philosophical and religious influences. According to Pseudo-Dionysius, an early Christian writer, the Virtues are "bestowers of grace and valor," represent the "out-pouring of divine energy," and are "possessed of unshakable virility.” [11] During the Renaissance, allegory was used towards the Christian ...
The seven capital virtues or seven lively virtues (also known as the contrary or remedial virtues) [8] are those thought to stand in opposition to the seven capital vices (or deadly sins). Prudentius , writing in the 5th century, was the first author to allegorically represent Christian morality as a struggle between seven sins and seven virtues.
The Seven Gifts of the Holy Spirit is one of several lists of virtues, vices and blessings in Christian devotional literature which follow a scheme of seven. [12] Others include the seven deadly sins, the seven virtues, the seven last words from the cross, the seven petitions of the Lord's Prayer, and the Beatitudes. [13]
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Maat represented the normal and basic values that formed the backdrop for the application of justice that had to be carried out in the spirit of truth and fairness. From the Fifth Dynasty (c. 2510–2370 BCE) onwards, the vizier responsible for justice was called the Priest of Maat and in later periods judges wore images of Maat. [20]
He carries a bag on his shoulders which is loaded with fortunes for those who believe in his virtues. Hotei's traits and virtues are contentment, magnanimity, and happiness. Hotei's original Chinese name was Kaishi, and according to legend, he died in March 916. The Japanese began to believe in Hotei during the Edo era.
In the arts, many things are commonly personified, including: places, especially cities, countries, and continents; elements of the natural world, such as trees, the four seasons, the "four elements", [2] the four cardinal winds, and the five senses; [3] moral abstractions, especially the four cardinal virtues and seven deadly sins; [4] the ...
[197] [note 38] Robsjohn-Gibbings' criticism was so "successful that, for decades, supporters of abstract art religiously avoided mentioning the esoteric connections of its pioneers." Interest in Theosophy of such abstract art leaders as Mondrian and Kandinsky was used "as a weapon" against modern art in general "by evangelical Christians and ...