An icon is a religious work of art, most commonly a painting, in the cultures of the Eastern Orthodox, Oriental Orthodox, and Catholic churches. The most common subjects include Jesus, Mary, saints, and angels. Although especially associated with portrait-style images concentrating on one or two main figures, the term also covers most of the religious images in a variety of artistic media produced by Eastern Christianity, including narrative scenes, usually from the Bible or the lives of saints.
John the Evangelist is the name traditionally given to the author of the Gospel of John. Christians have traditionally identified him with John the Apostle, John of Patmos, and John the Presbyter, although this has been disputed by most modern scholars.
Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical gospels. The Early Church Fathers ascribed to him authorship of both the Gospel of Luke and the Acts of the Apostles. Prominent figures in early Christianity such as Jerome and Eusebius later reaffirmed his authorship, although a lack of conclusive evidence as to the identity of the author of the works has led to discussion in scholarly circles, both secular and religious.
In art, a Madonna is a representation of Mary, either alone or with her child Jesus. These images are central icons for both the Catholic and Orthodox churches. The word is from Italian ma donna 'my lady' (archaic). The Madonna and Child type is very prevalent in Christian iconography, divided into many traditional subtypes especially in Eastern Orthodox iconography, often known after the location of a notable icon of the type, such as the Theotokos of Vladimir, Agiosoritissa, Blachernitissa, etc., or descriptive of the depicted posture, as in Hodegetria, Eleusa, etc.
In the New Testament, Salome was a follower of Jesus who appears briefly in the canonical gospels and in apocryphal writings. She is named by Mark as present at the crucifixion and as one of the Myrrhbearers, the women who found Jesus's empty tomb. Interpretation has further identified her with other women who are mentioned but not named in the canonical gospels. In particular, she is often identified as the wife of Zebedee, the mother of James and John, two of the Twelve apostles. In medieval tradition Salome was counted as one of the Three Marys who were daughters of Saint Anne, so making her the sister or half-sister of Mary, mother of Jesus.
In Christian tradition, the Four Evangelists are Matthew, Mark, Luke, and John, the authors attributed with the creation of the four canonical Gospel accounts. In the New Testament, they bear the following titles: the Gospel of Matthew; the Gospel of Mark; the Gospel of Luke; and the Gospel of John. These names were assigned to the works by the early church fathers in the 2nd century AD; none of the writers signed their work.
In the Eastern Orthodox Church, the feast of the death and Resurrection of Jesus, called Pascha (Easter), is the greatest of all holy days and as such it is called the "feast of feasts". Immediately below it in importance, there is a group of Twelve Great Feasts. Together with Pascha, these are the most significant dates on the Orthodox liturgical calendar. Eight of the great feasts are in honor of Jesus Christ, while the other four are dedicated to the Virgin Mary — the Theotokos.
The Intercession of the Theotokos, or the Protection of Our Most Holy Lady Theotokos and Ever-Virgin Mary, is a Christian feast of the Mother of God celebrated in the Eastern Orthodox and Byzantine Catholic Churches on October 1 . The feast celebrates the protection afforded the faithful through the intercessions of the Theotokos.
Columba of Sens, was a virgin and nun who was born to a noble pagan family in the northwest of the Iberian Peninsula. She left Gallaecia for Gaul as a child to avoid being denounced as a Christian and received the baptismal name Columba, meaning "dove" in French. She settled in Sens, France, where the Roman emperor Aurelian noticed her and tried to force her to marry his son. When she refused, he imprisoned her. She was protected from being burned alive by a female bear and a miraculous rain shower, but was finally beheaded. Columba was venerated throughout France; a chapel was later built over her relics and the Abbey of Sens, which at one time was a pilgrimage site in her honor, was eventually built there.
Christ in Majesty or Christ in Glory is the Western Christian image of Christ seated on a throne as ruler of the world, always seen frontally in the centre of the composition, and often flanked by other sacred figures, whose membership changes over time and according to the context. The image develops from Early Christian art, as a depiction of the Heavenly throne as described in 1 Enoch, Daniel 7, and The Apocalypse of John. In the Byzantine world, the image developed slightly differently into the half-length Christ Pantocrator, "Christ, Ruler of All", a usually unaccompanied figure, and the Deesis, where a full-length enthroned Christ is entreated by Mary and St. John the Baptist, and often other figures. In the West, the evolving composition remains very consistent within each period until the Renaissance, and then remains important until the end of the Baroque, in which the image is ordinarily transported to the sky.
Christian symbolism is the use of symbols, including archetypes, acts, artwork or events, by Christianity. It invests objects or actions with an inner meaning expressing Christian ideas.
The Coronation of the Virgin or Coronation of Mary is a subject in Christian art, especially popular in Italy in the 13th to 15th centuries, but continuing in popularity until the 18th century and beyond. Christ, sometimes accompanied by God the Father and the Holy Spirit in the form of a dove, places a crown on the head of Mary as Queen of Heaven. In early versions the setting is a Heaven imagined as an earthly court, staffed by saints and angels; in later versions Heaven is more often seen as in the sky, with the figures seated on clouds. The subject is also notable as one where the whole Christian Trinity is often shown together, sometimes in unusual ways. Crowned Virgins are also seen in Eastern Orthodox Christian icons, specifically in the Russian Orthodox church after the 18th century. Mary is sometimes shown, in both Eastern and Western Christian art, being crowned by one or two angels, but this is considered a different subject.
A religious image is a work of visual art that is representational and has a religious purpose, subject or connection. All major historical religions have made some use of religious images, although their use is strictly controlled and often controversial in many religions, especially Abrahamic ones. General terms associated with religious images include cult image, a term for images, especially in sculpture which are or have been claimed to be the object of religious worship in their own right, and icon strictly a term for Eastern Orthodox religious images, but often used more widely, in and outside the area of religion.
Mary has been one of the major subjects of Western art for centuries. There is an enormous quantity of Marian art in the Catholic Church, covering both devotional subjects such as the Virgin and Child and a range of narrative subjects from the Life of the Virgin, often arranged in cycles. Most medieval painters, and from the Reformation to about 1800 most from Catholic countries, have produced works, including old masters such as Michelangelo and Botticelli.
For about a thousand years, in obedience to interpretations of specific Bible passages, pictorial depictions of God in Western Christianity had been avoided by Christian artists. At first only the Hand of God, often emerging from a cloud, was portrayed. Gradually, portrayals of the head and later the whole figure were depicted, and by the time of the Renaissance artistic representations of God the Father were freely used in the Western Church.
The Ascension of Jesus to Heaven as stated in the New Testament has been a frequent subject in Christian art, as well as a theme in theological writings.
The Immaculate Conception is a painting by Italian painter Giovanni Battista Tiepolo (1696–1770). The painting was one of seven altarpieces commissioned in March 1767 from Tiepolo by King Charles III of Spain for the Church of Saint Pascual in Aranjuez, then under construction. This was originally an Alcantarine (Franciscan) monastery that was later assigned to the Conceptionist nuns.
Saint symbolism has been used from the very beginnings of the religion. Each saint is said to have led an exemplary life and symbols have been used to tell these stories throughout the history of the Church. A number of Christian saints are traditionally represented by a symbol or iconic motif associated with their life, termed an attribute or emblem, in order to identify them. The study of these forms part of iconography in art history. They were particularly used so that the illiterate could recognize a scene, and to give each of the Saints something of a personality in art. They are often carried in the hand by the Saint.
Saint symbolism has been used from the very beginnings of the religion. Each saint is said to have led an exemplary life and symbols have been used to tell these stories throughout the history of the Church. A number of Christian saints are traditionally represented by a symbol or iconic motif associated with their life, termed an attribute or emblem, in order to identify them. The study of these forms part of iconography in art history. They were particularly used so that the illiterate could recognize a scene, and to give each of the Saints something of a personality in art. They are often carried in the hand by the Saint.
Saint symbolism has been used from the very beginnings of the religion. Each saint is said to have led an exemplary life and symbols have been used to tell these stories throughout the history of the Church. A number of Christian saints are traditionally represented by a symbol or iconic motif associated with their life, termed an attribute or emblem, to identify them. The study of these forms part of iconography in art history. They were particularly used so that the illiterate could recognize a scene, and to give each of the Saints something of a personality in art. They are often carried in the hand by the Saint.
