It's a painting of Jesus with white lambs lying by his feet. He's surrounded by green, green grass highlighted by the rays of the glistening sun. The painting seems so much brighter than the rest. It reminds me that we are God's lamb. He is our shepherd and we are meant to follow him.
While The Entombment of Christ is a representation of religious and spiritual views, it also showcases passionate and dramatic portrayals of the greatest sacrifice ever made by Christ. During my trip to the Metropolitan Art Museum I decided to focus on A.D. 1400-1600 Medieval Art and eventually decided upon The Entombment of Christ. Located in MET gallery 306 the large limestone sculpture stands out immediately. The recess measures 96 x 104 x 32 inches while the overall measurements along with the frame measures a massive 183 x 145 x 32 inches. The beautiful stonework although dated still has great detail and texture, exemplified by the azurite lead paint that although clearly faded, still shows signs of red and orange shades.
The scene itself incorporates the angel Gabriel bringing the news to the Virgin Mary that she was soon to give birth to Jesus. Off to the right you have Joseph working on mousetraps which is thought to have reference to a quote from Saint Augustine, “The cross of the Lord was the devil's mousetrap; the bait by which he was caught was the Lord's death.” The Adoration of the Shepherds, ca. 1450 Andrea Mantegna The Adoration of the Shepherds is the work of an Italian artist named Andrea Mantegna. This specific piece was originally painted on wood panel and then transferred later to a canvas, which unfortunately cut off a small section of the right side. The painting shows a nativity scene in which the shepherds in the area are all coming to see their savior.
Research Paper Art 1000 15th April,2008 The Metropolitan Museum of Art “Virgin and Child in Majesty” and “La Frileuse” Outlines for Virgin and Child in Majesty:  The “Virgin and Child in Majesty” is a sculpture that was made in Auvergne, France during the twelfth century. Its height is thirty one inches, and it contains linen, gesso, and polychromic on walnut.  The title of the sculpture states that this sculpture was used as devotional object. It also states that the sculpture was served for religious purposes because it represents Mary and Jesus from the Bible.  The statue is representing Mary and she’s supporting Jesus with both hands, while sitting on a stool.
The Coronation of the Virgin Mary – Signorelli Luca This celebration of Mary's queenly dignity led to an image type in which Mary and Christ sit enthroned side by side, the Christ is lifting his right hand to crown his mother, and are flanked by two angels who represent those celestial legions. The pattern shows Mary kneeling at left, with her arms crossed on her breast, the Father seated between the Son and the Mary. The painting’s composition is based on an inverted triangle, giving a sense of great equilibrium and harmonious lines and reminiscent (both in its color and form) of a heart. The main figure is the Virgin Mary, with a modest, reverential and emotional expression, lowered eyes, a straight nose and curved lips. The sense that the inverted triangle is meant to refer to a heart is reinforced and the viewer's piety invoked by Mary pointing to her own heart.
The lamb on Father Paul’s door is a symbol of Jesus, but it also represents the fact that Teofilo was a shepherd. The reference to the Catholic church's ‘‘twin bells from the King of Spain’’ is important as it points to the history of the Pueblo's initial encounter with Christianity. The holy water symbolizes cleansing, blessing in the Catholic Church, but in this story it’s used
Some of the aspects that I saw that showed iconoclasm were the drawings of geometrical designs that were drawn all around the mosque in places where church symbols were vibrantly shown (Picture 1). These geometrical designs were placed on top of symbols (Christian Crosses) that exemplified Christianity. To spread the message of conversion, I also noticed the addition of many plaques around the inside of the main gallery that seems to show Islamic calligraphy. After reading about the plaques, it is said that each plate has the name of an Islamic god or a person of importance, which was Allah, Prophet Mohammed, the first four Caliphs Ebubekir, Omer, Osman and
In Christianity, symbolism is used to signify the importance of a person, event, or place. For example, the star (of Nazareth) is used to symbolize something of great importance, and the halo is used to symbolize someone of great importance#(saints). There are also animals that are used to represent various saints, for example, Saint John was represented by the eagle since he wrote particularly “lofty and mystical [ . . . ]
The record of the Lord’s Prayer has been recorded by Matthew and Luke in their account of Jesus Christ. This model of prayer has been part of Christian liturgy and tradition from the very beginning of Christendom. This model of prayer by Jesus Christ has been seen of underline the very theological mission and life of Jesus. Our Father who art in heaven The opening of the prayer, “Our Father who art in heaven” reflects Jesus’ own style of addressing God and which therefore also indicates Jesus’ intention that his disciples should share in his own sense of intimate sonship to God as Father. Jesus in the account of the four Gospels is seen to teach that God is our Father and seeks that kind of relationship with us.
Hendrick ter Brugghen focused on using grey colors to add more expression as a result of the loss of Jesus Christ. You can see the extensive use of dark coloring toward the background of the painting, Jesus’ corps, the cross, ground and also the bones. There is a specific background area of the painting where you see a division of dark and light coloring. This can represent a distinction between death and life, referring to Jesus’ corpse, Mary and St. John. This is also visible in the color of their clothing and also in St. John’s rosy skin.