Iconography of Jesus

Walden 1 How was Hieronymus Bosch able to convey the magnitude of the events within his painting “The Arrest of Christ”? In 1515 Hieronymus Bosch completed his painting “The Arrest of Christ” using his own style. With a better understanding of Bosch’s style of painting I will show how Bosch was able to show his perception on the events of that day, by using his form of painting. Next I will discuss the time period in which Bosch painted “The Arrest of Christ”. Finally I will be discussing the

Chofia Basumatary Course Coordinator: Radha Chakravarty MA English- Literary Relations: Intertextuality 29 February 2016 Kristeva’s notion of intertextuality in Dan Brown’s The Da Vinci Code Intertextuality is one of the central ideas in contemporary literary theory. Despite the over utilization and confident use of the term by the theorists and critics, it still remains a term which is not transparent and thus, cannot be invoked in a simple manner. Intertextuality as a term is notably recognized

Christian artwork or Coptic icons. My church uses Coptic icons or paintings to keep us focused on Christ and on our prayers during the service. Coptic iconography tells the powerful story of Christ and the great examples the saints set before

part of the painting: the woman and baby. Wayside Madonna has some clear iconography. The woman dominating the foreground is a direct allusion to the Virgin Mary. Seated and holding a sleeping male baby in her arms, a violet robe drapes over the figure. The woman wears a simple white outfit and adoringly looks down towards the baby. This depiction is very similar to the common depiction of the Virgin Mary holding baby Jesus in religious European art. An important difference between the European religious

Baylee Staufenbiel the popularity of the icon in several cultures, and what has been brought under its patronage (armies, cities, etc Dr. West RUSS 210/426 Midterm Paper 1 Patronage and Importance of St. George and the Dragon Iconography is, arguably, one of the most influential pieces of art in the world. Icons are known for the many images and depictions of holy scenes that appear across several cultures. Though icons are diverse, there are always uniting characteristics. Each icon

The Pre-Raphaelites were a seven rebellious artists in London who wanted to create new art. The pre-Raphaelites Brotherhood were; William Holman Hunt, John Everett Millais, Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner.They detested another artist’s work that, at the time went by the name Raphael (Raffaello Sanzio da Urbino), hence the name Pre-Raphaelites. However, society in the Victorian period adored Raphael and his work and many

hand, Dr. Cavarnos argues that holy icons serve to help believers to be transformed and sanctified and to lift them up to the prototypes which they symbolize, to a higher level of thought and feeling (1992:1). History shows that the subject of iconography precipitated the longest-running and most violent of the theological debates to shake the internal life of the Orthodox Church: the so-called iconoclastic controversy which produced many martyrs and confessors like St. John of Damascus during the

John, unlike others, generated widespread controversy due to its peculiar nature. In fact, Leonardo's portrayal of St. John was far removed from the traditional representation of the Baptist, who originally took on an appearance similar to Jesus. Leonardo instead presented the patron saint of Florence with an androgynous physique (and facial features), overt sexual aura, and elusive smile—reminiscent of the Mona Lisa's. In addition to that famous smile, Leonardo's ingenious signature employment

The Christian Church was absolutely instrumental in the art of the Renaissance. It was the driving force behind every inspiration; without the Church, there would have been no art. The Church was the only institution powerful enough to be able to support the commissions of all of the artwork, and it was the only institution, in which people had enough faith and devotion to spend so much of their time and money creating pieces that—although beautiful—were not necessities. The role of religion in

his mother’s hands and following her gaze. In Machiavelli’s painting, we are given a deeply intricate painting, full of painstakingly decorated clothings. However, Uccello gives us a very simple, naturalistic (albeit rather ugly) portrayal of baby Jesus in his mother’s hands. She holds him slightly away from her chest in careful hands, as though she were showing off a jewel, not too unsimilar to Machiavelli’s Virgin, who holds the baby close with one hand. In ‘Virgin and Child’, the baby is leaning