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The good shepherd is seen with one sheep on each of his sides. There has been speculation on the religious origins of the Sarcophagus of Livia Primitiva. It was thought to be Christian because the artwork was tied to Christianity , but later evidence strongly suggests that this artifact was built for a Pagan entombment.
The Good Shepherd, c. 300–350, at the Catacombs of Domitilla, Rome. The Good Shepherd (Greek: ποιμὴν ὁ καλός, poimḗn ho kalós) is an image used in the pericope of John 10:1–21, in which Jesus Christ is depicted as the Good Shepherd who lays down his life for his sheep. Similar imagery is used in Psalm 23 and Ezekiel 34:11–16.
The Good Shepherd (c. 1660) by Bartolomé Esteban Murillo. The Good Shepherd is an oil on canvas painting by Bartolomé Esteban Murillo, from c. 1660. It is held in the Prado Museum, in Madrid. It has the Inventory number P00962 [1] It and other works were bought in 1744 from the heirs of cardinal Gaspar de Molina y Oviedo by Elisabeth Farnese. [2]
The image of "The Good Shepherd", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the historical Jesus. [7] These images bear some resemblance to depictions of kouros figures in Greco-Roman art.
In this illustration, the true shepherd "enters the sheepfold by the door" and "calls his own sheep by name and leads them out (Greek: ἐξάγει αὐτά)" (John 10:1,3). The alternative way in, taken by the thief or stranger, is to "climb up some other way", i.e. to climb over the wall of the sheepfold. [ 16 ]
Saint Remigius: " Herein Christ shews in Himself the disposition of the good shepherd and not that of the hireling. Why He pitied them is added, Because they were troubled, and sick as sheep that have no shepherd—troubled either by dæmons, or by divers sicknesses and infirmities." [3] Glossa Ordinaria: " (ap. Anselm.) Or, troubled by dæmons ...
Pastoral is a mode of literature in which the author employs various techniques to place the complex life into a simple one. Paul Alpers distinguishes pastoral as a mode rather than a genre, and he bases this distinction on the recurring attitude of power; that is to say that pastoral literature holds a humble perspective toward nature.
In Hunt's painting, the shepherd ignores his flock of sheep, who wander over a ditch into a wheat field. This violation of boundaries is paralleled by the shepherd's physical intrusions into the personal space of the young woman, who responds in an ambiguous way that might be interpreted as complicity or as a knowing scepticism.