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The Conversion on the Way to Damascus (Conversione di San Paolo) is a work by Caravaggio, painted in 1601 for the Cerasi Chapel of the church of Santa Maria del Popolo, in Rome. Across the chapel is a second Caravaggio depicting the Crucifixion of Saint Peter. On the altar between the two is the Assumption of the Virgin Mary by Annibale Carracci.
Literary mentions of Christian images greatly increase, in the accounts of pilgrims to the Holy Land, in works of history, and in popular accounts of the lives of saints; at the same time some of these begin to mention acts of iconoclasm against images. The legendary nature of much of the last two types of material is clear, but the stories ...
Caravaggio biographer Helen Langdon describes the style of Conversion as "an odd blend of Raphael and clumsy rustic realism," but notes how the composition, with its jagged shapes and irrational light which picks out details for their dramatic impact, creates "a sense of crisis and dislocation [in which] Christ disrupts the mundane world."
Catholics use images, such as the crucifix, the cross, in religious life and pray using depictions of saints. They also venerate images and liturgical objects by kissing, bowing, and making the sign of the cross. They point to the Old Testament patterns of worship followed by the Hebrew people as examples of how certain places and things used ...
Most Christian groups use or have used art to some extent, including early Christian art and architecture and Christian media. Images of Jesus and narrative scenes from the Life of Christ are the most common subjects, and scenes from the Old Testament play a part in the art of most denominations.
According to the account, King Abgar received the Image of Edessa, a likeness of Jesus.. According to Christian tradition, the Image of Edessa was a holy relic consisting of a square or rectangle of cloth upon which a miraculous image of the face of Jesus Christ had been imprinted—the first icon (lit.
Christ in Majesty shown within a mandorla shape in a medieval illuminated manuscript. 13/14th c. seal of Stone Priory in Staffordshire, England, in the shape of a mandorla. A mandorla is an almond-shaped aureola, i.e. a frame that surrounds the totality of an iconographic figure. It is usually synonymous with vesica, a lens shape.
The Transfiguration of Jesus has been an important subject in Christian art, above all in the Eastern church, some of whose most striking icons show the scene. The Feast of the Transfiguration has been celebrated in the Eastern church since at least the 6th century and it is one of the Twelve Great Feasts of Eastern Orthodoxy , and so is widely ...