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Isis gathered Osiris's scattered limbs and fused them together as a part of his regeneration rite. Isis was able to find Osiris’ limbs, recompose the body and have a burial underneath a pyramid. [5] However, details of Isis's victory over Typhon weren’t shown, but there are details of Typhon’s mutilated torso forcing him to acknowledge ...
[225] [224] Osiris's devoted wife Isis collected his dismembered limbs and reassembled them, [225] [224] allowing her to revive Osiris in the Duat, the Egyptian afterlife, where he became the king of the dead. [225] [223] [224] In the late twentieth century, scholars began to severely criticize the designation of "dying-and-rising god" altogether.
Christ Pantocrator of Saint Catherine's Monastery is one of the oldest Byzantine religious icons, dating from the 6th century AD. [1] The earliest known surviving depiction of Jesus Christ as Pantocrator (literally ruler of all ), it is regarded by historians and scholars among the most important and recognizable works in the study of Byzantine ...
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]
From the middle of the 4th century, after Christianity was legalized by the Edict of Milan in 313, and gained Imperial favour, there was a new range of images of Christ the King, [47] using either of the two physical types described above, but adopting the costume and often the poses of Imperial iconography.
Ancha Icon of the Savior (Art Museum of Georgia, Tbilisi) The Ancha Icon of the Savior, known in Georgia as Anchiskhati (Georgian: ანჩისხატი), is a medieval Georgian encaustic icon, traditionally considered to be the Keramidion, a "holy tile" imprinted with the face of Jesus Christ miraculously transferred by contact with the Image of Edessa (Mandylion).
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Salvator Mundi, Latin for Saviour of the World, is a subject in iconography depicting Christ with his right hand raised in blessing and his left hand holding an orb (frequently surmounted by a cross), known as a globus cruciger. The latter symbolizes the Earth, and the whole composition has strong eschatological undertones.