The Cross: A Symbol of Faith, Hope and Love Essay

The Swastika originated over 3,000 years ago as symbol of good luck. (Symbology) It was very common from about 1,000 B.C. and was used in many cultures around the world, including China, Japan, India, and Southern Europe. By the middle ages it was well known and used every day by these cultures. Native Americans were another important culture to use the Swastika. It represented different meanings to various Native American tribes. It was a symbol the ancient Mississippian culture used to communicate their history, thoughts, ideas, and dreams. (Swastikas) These people were better known as the Mound Builders. They associated great mystical value to the Swastika and their sacred rites and rituals. These were special ceremonies. The Swastika to them helped recognize a whirling or turning motion. They saw the Swastika as a symbol of the sun, the four directions, and the four seasons. The

Charles B. Hodge, Jr., is a prolific writer and a minister of the Church of Christ. He closes each chapter of The Agony & Glory of the Cross with “The Cross…there is no other way!” Thus, I have taken Reverend Hodge’s declaration for the title of this review. He further explains his thesis of the importance of the cross: “Jesus could not save Himself and still be our Savior. There is no way but the cross.” The unique approach to teaching the New Testament – and Christs’ journey to Calvary – requires several readings, analysis, and return to biblical text.

The cross could be interpreted as a positive icon for the Spaniards, yet villainous to the Indians. The focal point the filmmaker might have made, however, was the cross bringing order to a “daunting” people.

This book is based on Christianity and how the religion was viewed through images. The text has an ere of concepts that ties in the concepts of Christians to the beginning of the start of Christianity. The purpose of this book is to show the readers the difference between how Christian art was represented and how other art was portrayed. I will be giving an overview of what Christianity represents and the art work that it includes.

which translates to “of the cross” thus, symbolizing sacrifice and suffering. It is believed that the

Trade networks shaped the development and diffusion of culture and economies in Rome, Aksum, Gupta India, and Han China. The Aksum gold coin and Roman Trajan markets were a big development for culture and economy in Aksum and Rome. The gold coin shows that Christianity and the advancement in technology with coinage reached Aksum and made them strive for a better empire. On the gold coin there are Christian symbols like the cross to specifically show that Aksum was Christian. The cross was a religious symbol to represent Jesus dying on the cross, found on the coin. King Ezana wanted to show how big Christianity was in his empire and the impact it had on the economy. Christianity on the coin helped develop a greater economy and culture thought

Wearing this cross shows that a person is “bearing their cross” just like Jesus did when He was being crucified. A lot of Copts, especially those who were born in Egypt and came to the United States, have a cross tattooed on the inside of their wrist. It is more common to find those who were born in Egypt to have this small tattoo because they get it from a very young age, but it is becoming more popular that youth who were born in the United States to get a bigger and more dramatic form of the tattoo when they grow up. This also symbolizes a person bearing their cross but in a different way than just wearing a necklace. I, personally, always wear my necklace but have yet to get a tattoo on my wrist. Also, priests of the Coptic Orthodox faith are required to wear a black tunic at all times and must grow a beard from the time that they become a priest.

would wear it. The green would also symbolize nature. This trend of making things from nature carried to North America, Mesoamerica, and South America. A large portion of jewelry found in Constantinople was either silver or gold. Scenes of Jesus death, or a image of the cross were expertly crafted on the material. In Asia, the art ranged from gold to wood. They would catch an image of nature into clay, or make an image of a Buddha out bronze and pieces of mold cast. The Germanic kingdom also had images of a cross from gold, and marble statues as well. All the nations had their art represent what they believe, and for what they stand for in their country (Heilbrunn Timeline of Art History).

The Cross as the symbol of Christianity was embraced as late as in the fourth century. It is certain that the Rood of Christ was often likened to a tree which can be known when the Rood said, “That was very long ago, I remember it still, that I was cut down from the edge of the wood, ripped from by my roots” (lines 28-30). The Ruthwell Cross, runic characters, being the most striking example of a combination of Celtic artistic tradition known as being interwoven with human and animal figures, biblical scenes and other things that were Christ based later developed into the poem of The Dream of the Rood, all form together to give you an overtly Christian

There are countless misunderstood symbols throughout history, but none’s meaning has been as twisted as the swastika. The term swastika comes from the Sanskrit ‘svastika’, which contains the prefix ‘sv’ meaning ‘good’ or ‘well’, the root word ‘asti’ meaning ‘being’, and the suffix ‘ka’ which is meant to amplify the meaning of the word. With all these meanings together, it become clear rather fast that term ‘swastika’ means simply ‘that which is associated with well-being’, which can be used to refer to a ‘lucky charm’ or any symbol meant to increase well-being. Today, it commonly refers to an equal-armed cross with its four legs turned at a ninety-degree angle about halfway down. Sadly, the swastika is largely shied away from today, despite

The subject of religion has captured the attention of artists for centuries, working its way throughout the years, in and out of various of styles and movements. The artists of this era often found themselves reliant on this subject matter due to Churches being a steady Patron throughout the Renaissance all the way to the Baroque period. Whether it was because of the rich cultural impact to society or the enforcement of strong divine beliefs, depicting biblical narratives have struck an everlasting cord within this medium. Two particular ones, in fact: The Deposition from the Cross (Entombment of Christ) by Jacopo Pontormo and The Entombment of Christ by Michelangelo Caravaggio. Both of which provide an excellent example of how culture and artistic style combined can alter the message of the same iconic scene and still evoke different emotions.

The cross, once plain wood, is now “exalted over all forest-tress” (91) and risen to the status of a lord. The Dreamer is seeing for himself the validity of Christ’s claims of rewarding his faithful servants. So the Cross, it seems, is now further gift-giving and reciprocating by telling the Dreamer that he has been given a gift by Christ, who died for his sins. The Dreamer interprets the telling of this story by the Cross as a gift, and so in return for this gift that the Cross has given him, the Dreamer tells the story of his dream to others in order to tell the tale and let others know of this great gift that was given to all of humanity by Christ. Its resplendence in its appearance to the dreamer is testament to the validity of its sacrifice in going against traditional Germanic servitude, which is important to addressing the comingling of cultures in The Dream of the Rood. This is certainly not heroism and faithful retainership as the Anglo-Saxons were used to it, but the Dreamer’s vision of the Cross in all its glory gives credence to Christ as a lord and gift giver.

Depiction of cultural and religious beliefs have been an important element in many artworks. The newly formed Early Christian religion, the Roman culture, and the Greek culture are no exception to this occurrence. Though living close in proximity to each other, their views differed vastly, in respect to both religion and culture. Roman and Greek views indulged the “here and now”, while those views of the Early Christians centered on the “hereafter”. It is upon the examination of a few artworks taken from either side, that this contrast becomes extremely apparent.

This essay starts with the use of Roman architecture to practice Christianity. Then I will write about how the image of the Roman emperors became the inspiration for the image of the Jesus. Finally I will discuss the way Romans used the same iconography and narrative they already had as a formula to image the bible.

an “X”. This symbol came from the time where Jesus talked to Peter and said, “I will give you the keys to the kingdom of Heaven. Whatever you bind on earth shall be bound in Heaven, and whatever you loose on earth shall be loosed in Heaven.” (Matthew 16:19) This showed that Jesus