An art deco holy card of the Immaculate Conception.
Tokyo-born artist Masaaki Sasamoto creates surreal worlds bathed in gold, mixing mythological iconography and the painter’s own, distinctive figures. The butterfly is one of the most common components in Sasamoto’s work, whether enveloping his subjects or fully embedded into them. Some of these scenes also carry notes of steampunk and futuristic, manga-inspired flourishes.
A classical Greco-Roman rhetorical tradition survives in Christian iconography
Anyone know who these two are? Photograph of a painting in the Musée Royal des Beaux-Arts, Anvers / Koninklijk Museum voor Schone Kunsten, Antwerp.
Icon Gestures: What Do They Mean?. Find out about it in our monastery blog. We have been writing about Christianity, church history, church products and crafts, the lives of the great ascetics, etc.
(Editor’s note: This article was submitted by Fr Paul Walliker, an Antiochian Orthodox Priest who has a Master of Visual Art (Painting) from Monash University, Australia. The f…
Association Icône Contemporaine
nearlya: cinoh: reclusive-genius: rhea137:reblololo:eyeballmansion:crashinglybeautiful:yama-bato:Book of Iconography Nepal, Himalayas 1575-1600
Iranian artist Afarin Sajedi crafts stirring portraits of women that explore their role in society and pull in iconography and notes from global cultures. In an upcoming show at Dorothy Circus Gallery, the first solo effort in the U.K. for the artist, she offers recent paintings. The show kicks off March 8 and runs through April 6.
Paul Fryer's striking Art pieces engage an array of occult and religious symbology with modern scientific revelations.The Artist's most successful works focus on morality, discord, science and religion and just how we interact with these rather vast conflicted topics.
Pre-columbian Design Argentine region of hills, valleys and mountains - Santa Maria. Andean area from the north to the middle of the country (Argentina) [850dC - sXV]. Birds are represented frequently, probably related to myths and legends. They are based on the book by Alejandro Fiadone, "Argentine indigenous design one approximation aesthetic pre-Columbian iconography." ..."The first evidence of humans in what is now the Argentina date back some 10,000 years BC. From then until the Spanish conquest, different cultures developed in different geographic regions, each with its own characteristics including infuence later Inca Empire." ... You can choose between different background colors. • SIZES Available sizes are shown in the SELECT A SIZE drop down menu above the ADD TO CART button. • DETAILS Printed on heavyweight matte paper, museum quality print, giclée print, by a professional print service. Details: Basis weight: 192 g/m2. Media Thickness: 10.3 mil (0.26 mm). ISO Brightness: 104%. Opacity: 94%. The image is centered to fit the paper size leaving a white border around (border width according to paper size). The print will not have a watermark. Frame not included, (framed photos are just an example of how might looked). Because every monitor and cell phone is calibrated differently, color of the print may vary from the color you see on the screen. •SAVE MONEY Set of any 3 prints here 15% OFF!! http://etsy.me/1mRXCYY Set of any 5 prints here 20% OFF!! http://etsy.me/1mRXGbh See more pre-columbian illustration prints here: http://etsy.me/1ice1AB •SHIPPING The poster will be carefully rolled into a protective shipping kraft tube, with plastic end caps. US, Canada and South American orders ships from California. Europe ships from Riga, Latvia. The rest of the World orders ships, depends on which point of delivery is the closest. For shipping information see our FAQs and Shop Policies: http://etsy.me/2hKvIA5 •FEEDBACK If you are in any ways dissatisfied with our products or services, please let me know (spanish or english) http://etsy.me/1l6na4t we will try our best to fix the problems. Customer satisfaction is very important for me. Please don’t forget to leave positive feedback and write some reviews! now you can upload photos!!! Follow me on twitter, Instagram, Facebook or Pinterest! http://etsy.me/2yullKN You can find many more prints in my shop. Thanks for visiting us! - http://www.etsy.com/shop/DigitalDraft
by Barbara Bechtel Throughout history, many religions and cultures have used jewelry as a means of imparting cultural and religious symbols and patterns into their work. However, you don't have to be a world traveler or an anthropologist to find inspiration for your own artisan made jewelry. The internet and your local library offer a wealth of research options to find meaningful and beautiful symbols to inspire your own work.... Here are just a few that have inspired me over the years.... The Maasai women have long been known for their intricate beaded designs and body modification. Originally, the delicate beads and their colors came from traditional means such as bone, stone, and horn but lost favor when trading with Europe and they were able to gain access to larger quantities of their now favored opaque Czech glass. Tradtional Japanese Netsuke and their counterparts, Ojime and Inro, were intricately carved adornments for the obi. Generally serving as a closure (much like a button) for a small pouch, this unique art form is still a popular craft and art form today. Traditionally, they depicted popular animals, deities, nature, and even professions or popular subjects of the day. You need not look any further than your own personal religious beliefs to find beautiful symbols. To expand on this idea, consult historical and religious texts or references to find variations of symbols through out history. In addition to the traditional symbols, look for other symbolic references in the stories of different religions, in example the rainbow in Christianity or the Hamsa in many different religions. Indigenous cultures and tribes throughout the world often used symbols in their writings, weavings and jewelry. Research into different groups can not only inform your work but also enlighten you about art history! Here are some additional references to get you started: PBS: Craft in America : Not only does this series research the rich history of American Craft; many episodes highlight artists working in traditional methods and symbology of their cultural heritage. Signs and Symbols in Christian Art: This book is a wonderful reference for traditional symbols used throughout art history. Also a great reference if you enjoy western art history. Religious-Symbols.net: Is a great basic site that overviews different religious symbols and their meaning. A great jumping point for your research. If you have any wonderful references, I'd love to hear them below!
Here's a recent exhibition that I wish I could've seen-- "Christian Folk Art from India" at Augusta Savage Gallery at UMass from December 12 - 16, 2011, where each piece in the collection is a painted cloth scroll depicting a Christian story or concept... the scrolls were used by Chitrakars, traveling painters/storytellers in the Bengal province of India, and the scrolls were used to help illustrate the stories that the Chitrakars shared with communities. In the 20th century, they occasionally used their traditional motifs and techniques to portray Christian subjects. Also included in the show are works by Christian Indian artist Frank Wesley, as well as other Christian artworks and artifacts such as brass crucifixes, clay creches, posters, and other objects. The works in the collection are owned by Georgana Falb Foster, 83, an independent scholar of South Asian studies and member of the American Council of Southern Asian Art. In the 1990s, she gave the collection to the Museum of Art at the University of Iowa as a research collection. She has given papers at the Conference of South Indian Religion and the Wisconsin South Asian conference and is a co-author of a chapter on the pilgrimage to the popular goddess Vaishno Devi in Jammu in "Sacred Geography of Goddesses in South Asia" Scholarly Books (2010).
There's something about classical art that just turns me off. Endless portraits of pale and plump aristocrats looking all fancy in the classical paintings, bucolic rural scenes, religious iconography... I can certainly appreciate the skill and relevance back in the pre-photography age, but these days we need a message!
Hildegard of Bingen was a visionary, theologian, writer, composer, artist, healer, reformer, medical practitioner, prophet, and poet.
The chapter explores pictorial representations of the Arma Christi in late medieval visual art under the premise of their list-like character. The aim is to explain how artists designed the representations of the Arma with a conceptual purpose regarding the interplay of aesthetics and functionality to tie the beholder’s gaze and thoughts to the Passion of Christ. As will be shown, an examination of the Arma from the perspective of enumeration enables a more theoretical understanding of the list and its potential in the late medieval practice of piety.
Silence used to avoid a confrontation, or the discomfort of emotions arising, often becomes like a nagging upset that burrows into your day when you least expect it. There will be moments when someone says something, or you see something, that triggers your recall of the person giving you the silent treatment. And that hurts.
Master of the Bartholomew Altar (active 1470-1510) Inv. Nr. 1183, 1184, 1185. In the Boisserée collection in 1825. Sulpiz Boiserée (2 August 1783 - 2 May 1854) was a German art collector and art historian. With his brother Melchior he formed a collection that ultimately formed the basis of that of the Alte Pinakothek. He played a key role in the completion of Cologne Cathedral. en.wikipedia.org/wiki/Sulpiz_Boisser%C3%A9e Alte Pinakothek, Munich. The saints are depicted standing on a narrow platform with their clearly shown attributes. In the left panel: St. John the Evangelist drank from a poisoned cup but survived. St. Margaret scared off a dragon by making a sign of the cross. More about St. Margaret: According to the version of the story in Golden Legend, she was a native of Antioch and the daughter of a pagan priest named Aedesius. Her mother having died soon after her birth, Margaret was nursed by a Christian woman five or six leagues (6.9–8.3 miles) from Antioch. Having embraced Christianity and consecrated her virginity to God, Margaret was disowned by her father, adopted by her nurse, and lived in the country keeping sheep with her foster mother (in what is now Turkey).[5] Olybrius, Governor of the Roman Diocese of the East, asked to marry her, but with the demand that she renounce Christianity. Upon her refusal, she was cruelly tortured, during which various miraculous incidents occurred. One of these involved being swallowed by Satan in the shape of a dragon, from which she escaped alive when the cross she carried irritated the dragon's innards. The Golden Legend describes this last incident as "apocryphal and not to be taken seriously" (trans. Ryan, 1.369). As Saint Marina, she is associated with the sea, which "may in turn point to an older goddess tradition", reflecting the pagan divinity, Aphrodite.[6] Veneration The Eastern Orthodox Church knows Margaret as Saint Marina, and celebrates her feast day on 17 July. She has been identified with Saint Pelagia, "Marina" being the Latin equivalent of the Greek "Pelagia" who—according to her hagiography by James, the deacon of Heliopolis—had been known as "Margarita" ("Pearl"). We possess no historical documents on Saint Margaret as distinct from Saint Pelagia. The Greek Marina came from Antioch in Pisidia (as opposed to Antioch of Syria), but this distinction was lost in the West. The story was summarized in the 9th-century martyrology of Rabanus Maurus, even if it was too fantastic for many clergy (it went too far even for Jacobus de Voragine, who remarks that the part where she is eaten by the dragon is to be considered apocryphal).[7] In 1222, the Council of Oxford added her to the list of feast days, and so her cult acquired great popularity. Many versions of the story were told in 13th-century England, in Anglo-Norman (including one ascribed to Nicholas Bozon), English, and Latin,[8] and more than 250 churches are dedicated to her in England, most famously, St. Margaret's, Westminster, the parish church[9] of the British Houses of Parliament in London. In art, she is usually pictured escaping from, or standing above, a dragon. She is recognized as a saint by the Roman Catholic Church, being listed as such in the Roman Martyrology for 20 July.[10] She was also included from the 12th to the 20th century among the saints to be commemorated wherever the Roman Rite was celebrated,[11] but was then removed from that list because of the entirely fabulous character of the stories told of her.[12] Every year on Epip 23 the Coptic Orthodox church celebrates her martyrdom day,[3] and on Hathor 23 the Coptic church celebrates the dedication of a church to her name. Saint Mary church in Cairo holds a relic believed to be Margaret's right hand, previously moved from the Angel Michael Church (modernly known as Haret Al Gawayna) following its destruction in the 13th century AD. It is displayed to the public and visitors on her feast days.[citation needed] en.wikipedia.org/wiki/Margaret_the_Virgin ====================================================== About the artist: The Master of the Saint Bartholomew Altarpiece (sometimes called the Master of the Saint Bartholomew Altar,[1]) was an Early Netherlandish painter active in Germany between 1475[1]/1480 and 1510.[2] Despite his anonymity, he is one of the most recognizable artists of the early Renaissance period in German art.[3] Almost nothing is known of his life, including his name; nevertheless, his hand is distinctive enough that scholars have found it fairly easy to trace his career.[2] His name is derived from an altarpiece dated to between 1505 and 1510, depicting Saint Bartholomew flanked by Saint Agnes and Saint Cecilia. The painting is known to have hung in the church of Saint Columba in Cologne; the inclusion of a Carthusian monk in the picture indicates a possible connection to the Carthusian monastery in that city.[1] The identity of the Master remains unknown; it has been suggested, given the number of commissions he executed for the Carthusian order, that he may have been a member himself.[1] It is now believed that, despite his associations with Cologne, and with German artistic circles, elements of his style suggest that the Master was initially trained in the Netherlands - a point of origin in Utrecht, or in the Gelderland region, has been posited. A Book of Hours, open to an identifiably middle Netherlandish text, in the hand of Saint Columba in a panel attributed to the Master conserved at Mainz,[4] offers a clue to his cultural origins. It is further suggested that he emigrated to Cologne in about 1480.[1][2] His early style may be seen in the miniatures he painted for the Book of Hours of Sophia van Bylant; the Flagellation in this collection is dated to 1475, the earliest date associated with the Master. The calendar in the book is that of the diocese of Utrecht; nevertheless, certain oddities of language indicate an affinity with Arnhem, which was also the home of the donor.[1] Other early works, dated to the 1480s, include an Adoration of the Kings and a Madonna and Child with Saint Anne, both of which exhibit affinities with northern Netherlandish painting and may have been created in the Netherlands. Among the very few works attributed to the Master for which the original location is documented are a pair of altarpieces commissioned for the Carthusian monastery in Cologne by a lawyer, Dr. Peter Rinck,[1] and the Deposition, now at the Musée du Louvre, that was executed for the hospital of the Antonite brothers in Paris.[5] Style It has been said that the Master is the last "Gothic" painter to be active in Cologne. Approximately twenty-five paintings have been attributed to him[1] on the basis of his highly individual style, which does not seem to bear any affinity to that of any other school then active locally.[2] Despite the fact that he seems to have been the leading painter of his time in Cologne, no evidence of any followers, or of a school in the usual sense, may be found.[1] A number of influences, mainly Netherlandish, have been traced in the Master's paintings. These include Dirck Bouts and Rogier van der Weyden,[6][7] whose influence may be seen in the Munich Madonna and Child with Saint Anne. Stylistically, the Master's paintings are characterized by their use of bright, enamel-like colors[7] and an affinity to the International Gothic style of painting.[8] The Master's work may be found in a number of international museum collections. Three panels from the altarpiece which gave him his name are in the Alte Pinakothek in Munich, and the Deposition for the Order of St Anthony is at the Musée du Louvre. There are four works in the National Gallery, London[9] and a double-sided panel of the Journey of the Magi (or Three Kings) and the Assumption of Mary at the J. Paul Getty Museum in Los Angeles.[2] A Baptism of Christ is in the National Gallery of Art, Washington, D.C.[1] Other paintings are in the Museum of Fine Arts, Boston;[10] the Philadelphia Museum of Art;[11] and the Wallraf-Richartz Museum in Cologne.[12] A Death of the Virgin formerly in Berlin is now lost.[8]
Ok so sometimes you find yourself in the section of the museum where everything is very serious – religious iconography, portraits of nobles, political events from long ago. But I want to show you a…
Art That Heals: The Image as Medicine in Ethiopia examines Ethiopia’s boldly graphic, medicinal healing scrolls. Whereas Westerners have long considered art and medicine as separate realms, Ethiopians consider them to be intimately and inextricably connected.
There's something about classical art that just turns me off. Endless portraits of pale and plump aristocrats looking all fancy in the classical paintings, bucolic rural scenes, religious iconography... I can certainly appreciate the skill and relevance back in the pre-photography age, but these days we need a message!
Részlet a Szent Mihály Arkangyal tevékenysége és segítségül hívása c. könyvből. "A katolikus művészet mindig úgy ábrázolja Szent Mihály Arkangyalt, amint éppen leteríti a sátánt és úgy is, mint győztes harcost, vagy mint harcoló angyalt. Az angyalvilág megteremtésekor Isten Szent Mihályt a második helyre tette. Lucifer volt az első angyal, a legfölségesebb természet, a tündöklő fény, az angyali remekmű. Isten minden angyalt bőkezűen elhalmozott megszentelő kegyelemmel, valamint fokozatához és betöltendő hivatalához szükséges kegyelemmel. Azonban ahhoz, hogy ők is élvezhessék Isten boldogító látását, nekik is különböző próbákat kellett kiállniuk és így kimutatniuk Teremtőjük iránti szeretetüket és hűségüket. Lucifer, aki maga volt a fény és minden angyalok feje, látva, hogy a többi angyal fölött áll és szebb valamennyinél, megtagadta Isten imádását. Ekkor Szent Mihály Arkangyal a lázadók által előidézett viszály láttán nagy hangon így kiáltott fel: " Ki olyan, mint Isten?" és önmagát mint egy megsemmisítve a Teremtő előtt, nagy alázattal odaállt Isten trónja elé, mélyen imádta Őt és fölajánlotta szívét, hű szeretetét, egész valóját a Fölséges Isten szolgálatára, hogy megvédje Dicsőségét a hálátlan lázadókkal szemben. Isten dicsősége érdekében tüzes beszédben buzdította az angyalokat, hogy szegüljenek ellen Lucifer esztelen lázadásának. Ugyanakkor emlékeztette őket nagy kötelességükre: imádniuk kell Istent, és hogy a kapott végtelen sok jótéteményért mély alázattal tartoznak neki. A Mindenható Isten, hűséges állhatatosságáért, Szent Mihálynak adta jutalmul Lucifer megüresedett helyét, és megtette a Szentháromság első Miniszterévé, minden angyali fejedelmek fejedelmévé, s az angyalok mind a kilenc kara legfőbb Fejévé. isten nagylelkűsége Szent Mihályt páratlan hatalommal és méltósággal teljes dicsőségbe emelte, leges-legközelebb a saját trónjához. Ettől a dicsőséges trónustól szállt le Szent Mihály gyakran az Ó- és Újszövetségben, hogy hű tisztelőinek hathatós segítséget vigyen. "Midőn Mihály leszáll az égből, felkavarodik a tenger és megremeg a föld: ekkor tűzi ki az üdvösség keresztjét, mint győzelmi zászlót, s az égi erődből villámával sújt le a lázadó szellemekre!" Földi székhelye Olaszországban van, a Gargano-hegy szent csúcsán, a Monte Sant Angelo-n /Szent Angyal-hegy/, Foggia tartományban. Ezt a helyet ő maga választotta ki személyesen Krisztus után 490-ben, Szent Lorenzo-nak, Maiorana püspökének történt háromszori csodálatos megjelenése után. Ebben a Mennyek által kiválasztott bazilikában, amelyben századok óta megszakítás nélkül osztogatja Szent Mihály fejedelmi kegyeit, megfordultak pápák, császárok, s velük együtt a minden nemzetbeli püspökök és papok, szentek és laikusok, Assisi Szent Ferenc, Szent Brigitta,Aquinói Szent Tamás, Paolai Szent Ferenc, Szent Bernardin, Lellisi Szent Kamill, Szent Antal apát és sokan mások. Ők a Szent Barlang meglátogatásakor könnyektől elfojtott hangon így imádkoztak: " Szent Mihály Arkangyal, védelmezz minket a küzdelemben...., taszítsd vissza a sátánt a pokolba. Ó gyönyörű, tündöklő Szellem, Szent Mihály Arkangyal, imádkozzál érettünk bűnösökért, most és halálunk óráján. Ámen." Ne maradj le cikkeinkről! Kövess minket Facebookon! Kapcsolódó cikkek: A tiszta férfiúság Mi a baj a hamvasztással? Egyre több az olyan család, ahol minden fiú pap lesz Az ember, akinek Szűz Mária diktálta le az életrajzát Miért nem való a könnyűzene a templomba? A politikai korrektség a jelenkor fő eretneksége Legyőzhetetlen fegyver a Gonosz ellen Lenyűgöző film a karthauzi szerzetesekről Eddig nem látott felvételek Pio atyáról Prohászka a házasságról
Explore jwyg's 2391 photos on Flickr!
My Savior sweat blood, it was a blood that came from His heart. heart blood Drops fell like tears, shattering against stone, seeping into the cold night. I wish I had been there to catch the crimson. Blood more precious than gold. How much does a ransom for every human being that ever lived go for these days?
Chère Madame,J’ai fendu ton mari en deux su l’sens de la longueur.Faique là, t’es veuve, mais ch’peux t’arranger ça : on se marie-tu?Soye assurée, Madame, que j’me fendrais en quatre pour toé. Avec…
Icon Gestures: What Do They Mean?. Find out about it in our monastery blog. We have been writing about Christianity, church history, church products and crafts, the lives of the great ascetics, etc.
Even in medieval times they had stories and legends about people with extraordinary gifts - saints and warriors with special powers. Here is our list of ten superheroes from the Middle Ages.
Newly discovered Byzantine mosaics show Amazons hunting, a rare scene in Amazon iconography, which usually depicts the warriors fighting battles. Here Queen Melanippe (whose name is written above her) attacks a lion with her lance. (Pasquale Sorrentino) I rather like the goofy-looking horse. From an article about Byzantine mosaics in the Jan/Feb 2010 issue of Archaeology.
Do you have a future daughter? Probably. So name her after these powerful ladies from history.
St. Gallen, Stiftsbibliothek, Cod. Sang. 357, detail of f. 343. Missal. St. Gall, 1555.
Aunque vienen de la Biblia, no son los personajes bíblicos en sí los que me gustan, si no la leyenda posterior de la obra que adaptó Oscar Wilde, y de la que Strauss compuso una ópera. En esa historia hay matices románticos, ya que en lugar de motivos políticos o religiosos, ella pidió su cabeza por un amor obsesivo y enfermizo que fue rechazado. Algunas pinturas de esta temática:Lucien Levy DhurmerSebastiano del PomboAdolf Frey MoockOdilon RedonGuido ReniLeon HerboBernardino LuiniCaravaggioTiziano
