Iconography of Jesus

thesis is to compare and contrast iconography of the Good Shephard, in relation to the status of the Good Shepherd as one of the most popular icons representing Jesus, its origins in pagan art, and the use of similar subject matter. The two images reviewed here cover the period of the early stages of Christianity within the Roman Empire, and are depictions of the Good Shephard using different format and technique. The Merriam Webster description of iconography is “traditional or conventional images

centuries after the death of Jesus Christ religious iconography began. During the Medieval period art iconography related to the texts found in the Bible. This paper will analyze two arts containing Christian iconography that illustrate the return of naturalism. This paper will analyze the iconography of two medieval works from the early medieval period (500-1200) and one from the late medieval period (1200-1400). Both works of art depict the crucifixion of Jesus Christ (John 19:17-37). According

Christian iconography. According to Humanistic Tradition, “Christian signs and symbols linked the visible to the invisible world…since in Christian art the symbolic significance of a representation is often more important than its literal meaning” (Fiero, 204). Christian iconography represents a religious belief. Indeed, Christian iconography is the symbol that shows religious spirit of Christian in Medieval Europe (McMillan, Middle Age). It is a Holy image representing a religious character, Jesus Christ

Traditions. These religions take different approaches to representational art and iconography which is found in their religious festivals. The Christian celebration of Easter and the Jewish Passover differentiate in their approaches to these icons in the history, the celebration and the symbols used during the commemoration of these holidays. Passover and Easter have many hidden representational art and iconography that are reflected in the historical stories behind Judaism and Christianity. For

Justifying Iconography with a Hint of Paganism Saint John of Damascus argues that iconography is not against the old testaments preachings; particularly, the Ten Commandments. He professes that it is his obligation to justify the necessity to venerate icons. These icons depicted Jesus Christ, the Virgin Mary, and the saints. First, he explains the opposition related to iconography; for example, “[one] shall not make for [themselves] a graven image or any likeness of anything that is in heaven

small-scale representation. Ideally, the evolution towards a realistic and sentimental representation of childhood begins with the childhood of Jesus. The representation of Jesus on His mother’s arms led to family representations that demonstrated childhood characteristics. However, a more realistic and sentimental childhood representation revolved around Jesus until the fourteenth century when the Italian art helped to develop and spread an ideal childhood representation. The gothic period produced

Lippi accomplishes this by repeating the nativity story within the masterpiece. Figure 5.12 illustrates Jesus’s importance as a human but also as God’s child. Mary or the Madonna, has her hands in prayer, leaning downward towards Jesus, ready to bow in respect for Jesus’s importance but, to admire her baby boy as well. Many viewers would understand this imagery to honor the holy spirit yet forget to honor a human baby. As the figures are surrounded by a dark forest and represented

meaning behind it. And there’s nothing to panic about because with the help of symbols or iconography, the message behind the piece or artwork may just be revealed. Iconography, stated by the book, is a system of symbols that allow artists and designers to refer to complex ideas. Iconography is seen a lot through cultures and religions, for example, in medieval Christian symbolism, the unicorn symbolized Jesus. This is seen in The Unicorn in Captivity, and if you look closely into the artwork, you

Lucca Madonna, Jan Van Eyck Description Analysis Interpretation Judgment Art Criticism The Lucca Madonna portrays Virgin Mary sitting on a throne feeding baby Jesus. Van Eyck's use of color truly draws the viewer to the painting. As soon as one sees the painting they as on looks upon the painting they are guided towards Mary and Jesus' bright skin then is soon drawn to the beautiful scarlet dress Mary is wearing. There seems to be little negative space in the paintings. The throne of which Mary

based on Christianity principals. 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. As we know, Romans were so religious, and they paid homage to their gods with building gigantic temples and statues, which now we may know many of them