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Church pressure to restrain religious imagery affected art from the 1530s and resulted in the decrees of the final session of the Council of Trent in 1563 including short and rather inexplicit passages concerning religious images, which were to have great impact on the development of Catholic art.
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 illumination of religious images with lamps or candles is an ancient practice pre-dating Christianity. According to Fr. Les Bundy, "The Ecumenical Counciliar dogmatic decrees on icons refer, in fact, to all religious images including three-dimensional statues.
A religious image is a work of visual art that is representational and has a religious purpose, subject or connection. All major historical religions have made some use of religious images, although their use is strictly controlled and often controversial in many religions, especially Abrahamic ones.
Antonio Ciseri, nineteenth-century religious artist originally from Ticino; works include Ecce Homo [670] and The Transport of Christ to the Sepulcher [671] Philip Lindsey Clark, works include a Stations of the Cross sculpture; after 1930 "all his RA exhibits were of religious and often specifically Catholic subjects;" became a Carmelite ...
The Madonna of humility by Domenico di Bartolo 1433 has been described as one of the most innovative devotional images from the early Renaissance [35]. Catholic Marian art has expressed a wide range of theological topics that relate to Mary, often in ways that are far from obvious, and whose meaning can only be recovered by detailed scholarly analysis.
In Catholic countries, production of religious art continued, and increased during the Counter-Reformation, but Catholic art was brought under much tighter control by the church hierarchy than had been the case before. From the 18th century the number of religious works produced by leading artists declined sharply, though important commissions ...
Catholic devotions thus stress the importance of the image as a "conduit for grace" as part of the Divine Mercy message. [13] Kowalska's diary also relates the image to Divine Mercy Sunday. Kowalska wrote (Notebook 1, item 49) that Jesus told her that he wanted the Divine Mercy image to be "solemnly blessed" on the first Sunday after Easter ...