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Depiction of Jesus

There is no useful description of the physical appearance of Jesus given in the , and the in pictorial form was controversial in the early .[1][2] The depiction of him in art took several centuries to reach a conventional standardized form for his physical appearance, which has subsequently remained largely stable since that time. Most images of Jesus have in common a number of traits which are now almost universally associated with Jesus, although variants are seen.

The conventional image of a fully bearded Jesus with long hair emerged around 300 AD, but did not become established until the 6th century in Eastern , and much later in the Mural painting from the catacomb of West. It has always had the advantage of being easily Commodilla. One of the first recognizable, and distinguishing Jesus from other figures shown bearded images of Jesus, late 4th around him, which the use of a cruciform halo also achieves. century. Earlier images were much more varied.

Images of Jesus tend to show ethnic characteristics similar to those of the culture in which the image has been created. Beliefs that certain images are historically authentic, or have acquired an authoritative status from Church tradition, remain powerful among some of the faithful, in Eastern , , and Roman Catholicism. The Shroud of is now the best-known example, though the Image of and the were better known in medieval times.

Contents Early Christianity Alexamenos graffito Before Constantine After Constantine Later periods Conventional depictions Range of depictions Miraculous images of Jesus Examples Sculpture See also Notes https://en.wikipedia.org/wiki/Depiction_of_Jesus 1/23 12/18/2019 Depiction of Jesus - Wikipedia References External links

Early Christianity

Alexamenos graffito A very early image which is believed to be an early anti-Christian graffito is the Alexamenos graffito, a unique piece of wall near the Palatine hill in . The inscription has been ascribed dates ranging from the 1st to the 3rd centuries AD.[3][4][5][6][7] It was apparently drawn by a Roman soldier to mock another soldier who was a Christian. The caption reads, in Greek, "Alexamenos worships [his] God", while the image shows a man raising his hand toward a crucified figure with a donkey's head. This seems to refer to a Roman misconception that the Jews worshipped a god with the form of a donkey, so that the image would be at once antisemitic and anti-Christian. A small minority of Engraving of a crucified scholars dispute whether this image depicts Jesus, proposing that this [5] donkey believed to be an image may be a reference to another deity. early anti-Christian graffito, it reads: "Alexamenos worships [his] god." Before Constantine Except for Jesus wearing tzitzit—the tassels on a tallit—in Matthew 14:36[8] and Luke 8:43–44,[9] there is no physical description of Jesus contained in any of the canonical . In the , Jesus is said to have manifested as a "light from heaven" that temporarily blinded the Apostle Paul, but no specific form is given. In the there is a Incised sarcophagus slab with the vision the author had of "someone like a Son of Man" in spirit from the form: "dressed in a robe reaching down to his feet and with a , 3rd century. golden sash around his chest. The hair on his head were white like Plaster cast with added colour. wool, and his eyes were like blazing fire. His feet were like burnt bronze glowing in a furnace (...) His face was like the sun shining in all its brilliance" (Revelation 1:12–16, NIV). Use in art of the Revelation description of Jesus has generally been restricted to illustrations of the book itself, and nothing in the scripture confirms the spiritual form's resemblance to the physical form Jesus took in his life on Earth.

Exodus 20:4–6 "Thou shalt not make unto thee any graven image" is one of the and except for minor exceptions made Jewish depictions of first-century individuals a scarcity. But attitudes towards the interpretation of this Commandment changed through the centuries, in that while first-century rabbis in objected violently to the depiction of human figures and placement of statues in Temples, third-century Babylonian Jews had different views; and while no figural art from first-century Roman Judea exists, the art on the Dura synagogue walls developed with no objection from the Rabbis early in the third century.[10]

https://en.wikipedia.org/wiki/Depiction_of_Jesus 2/23 12/18/2019 Depiction of Jesus - Wikipedia During the persecution of under the Roman Empire, was necessarily furtive and ambiguous, and there was hostility to idols in a group still with a large component of members with Jewish origins, surrounded by, and polemicising against, sophisticated pagan images of gods. (d. c. 202), (d. 215), (c. 240–c. 320) and of Caesarea (d. c. 339) disapproved of portrayals in images of Jesus. The 36th canon of the non-ecumenical in 306 AD reads, "It has been decreed that no pictures be had in the churches, and that which is worshipped or adored be not painted on the walls",[11] which has been interpreted by and other Protestants as an interdiction of the making of images of .[12] The issue remained the subject of controversy until the end of the 4th century.[13]

The earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of tombs belonging, most likely, Jesus in the Catacombs of Rome. Third-century from the to wealthy[14] Christians in the catacombs of Rome, although Catacomb of Callixtus of Christ as from literary evidence there may well have been panel the . which, like almost all classical painting, have disappeared.

Initially Jesus was represented indirectly by pictogram symbols such as the (fish), the peacock, or an anchor (the or Chi-Rho was a later development). The seems to have been a very early representation of the crucified Jesus within the sacred texts. Later personified symbols were used, including , whose three days in the belly of the whale pre-figured the interval between Christ's death and resurrection; in the lion's den; or charming the animals.[16] The image of "The Good Shepherd", a beardless youth in pastoral scenes collecting sheep, was the most common of these images, and was probably not understood as a portrait of the at this period.[17] It continues the classical ("ram-bearer" figure), and in some cases may also represent , a popular Christian literary work of the 2nd century.[18]

Among the earliest depictions clearly intended to directly represent Jesus himself are many showing him as a baby, usually held by his mother, especially in the Adoration of the The Healing of the Paralytic – one of the oldest possible depictions of Magi, seen as the first , or display of the incarnate [19] Jesus,[15] from the Syrian city of Dura Christ to the world at large. The oldest known portrait of Europos, dating from about 235 Jesus, found in Syria and dated to about 235, shows him as a beardless young man of authoritative and dignified bearing. He is depicted dressed in the style of a young philosopher, with close-cropped hair and wearing a tunic and —signs of good breeding in Greco-Roman society.

https://en.wikipedia.org/wiki/Depiction_of_Jesus 3/23 12/18/2019 Depiction of Jesus - Wikipedia From this, it is evident that some early Christians paid no heed to the historical context of Jesus being a Jew and visualised him solely in terms of their own social context, as a quasi-heroic figure, without supernatural attributes such as a halo (a fourth-century innovation).[20]

The appearance of Jesus had some theological implications. While some Christians thought Jesus should have the beautiful appearance of a young classical hero,[21] and the Gnostics tended to think he could change his appearance at will, for which they cited the Meeting at Emmaus as evidence,[22] others including the Justin (d. 165) and (d. 220) believed, following :53:2 (http://www.mechon-mamre.org/p/pt/pt1053.htm), that Christ's appearance was unremarkable:[23] "he had no form nor comeliness, that we should look upon him, nor beauty that we should delight in him." But when the pagan Celsus ridiculed the Christian religion for having an ugly God in about 180, (d. 248) cited Psalm 45:3: "Gird thy sword upon thy thigh, mighty one, with thy beauty and fairness"[24] Later the emphasis of leading Christian thinkers changed; (d. 420) and (d. 430) argued that Jesus must have been ideally beautiful in face and body. For Augustine he was "beautiful as a child, beautiful on earth, beautiful in heaven."

After Constantine From the 3rd century onwards, the first narrative scenes from the Life of Christ to be clearly seen are the of Christ, painted in a catacomb in about 200,[26] and the of the Raising of Lazarus,[27] both of which can be clearly in a Roman identified by the inclusion of in the church of Santa the dove of the in Pudenziana, Rome, c. 400–410 AD , and the vertical, during the Bearded Jesus between Peter and Paul, Catacombs of Marcellinus and shroud-wrapped body of Peter, Rome. Second half of the 4th Lazarus. Other scenes remain century. Such works "first present us ambiguous – an may be intended as a , with the fully formed image of Christ but before the development of a recognised physical appearance in Majesty that will so dominate for Christ, and attributes such as the halo, it is impossible to tell, "[25] For detail of as tituli or captions are rarely used. There are some surviving Christ, see this file. scenes from Christ's Works of about 235 from the Dura Europos church on the Persian frontier of the Empire. During the 4th century a much greater number of scenes came to be depicted,[28] usually showing Christ as youthful, beardless and with short hair that does not reach his shoulders, although there is considerable variation.[29]

Jesus is sometimes shown performing by means of a wand,[30] as on the doors of in Rome (430–32). He uses the wand to change water to wine, multiply the bread and fishes, and raise Lazarus.[31] When pictured healing, he only lays on hands. The wand is thought to be a symbol of power. The bare-faced youth with the wand may indicate that Jesus was thought of as a user of magic or wonder worker by some of the early Christians.[32][33] No art has been found https://en.wikipedia.org/wiki/Depiction_of_Jesus 4/23 12/18/2019 Depiction of Jesus - Wikipedia picturing Jesus with a wand before the 2nd century. Some scholars suggest that the of Mark, the Secret and of John (the so-called ), portray such a wonder worker, user of magic, a magician or a Divine man.[34] Only the Apostle Peter is also depicted in ancient art with a wand.[33]

Another depiction, seen from the late 3rd century or early 4th century onwards, showed Jesus with a , and within a few decades can be very close to the conventional type that later emerged.[35] This depiction has been said to draw variously on Imperial imagery, the type of the classical philosopher,[36] and that of , leader of the Greek gods, or , his Roman equivalent,[37] and the protector of Rome. According to art historian Paul Zanker, the bearded type has long hair from the start, and a relatively long beard (contrasting with the short "classical" beard and hair always given to St Peter, and most other apostles);[38] this depiction is specifically associated with "Charismatic" philosophers like Euphrates the Stoic, Dio of Prusa and , some of whom were claimed to perform miracles.[39]

After the very earliest examples of c. 300, this depiction is mostly used for hieratic images of Jesus, and scenes from his life are more likely to use a beardless, youthful type.[40] The tendency of older scholars such as Talbot Rice to see the beardless Jesus as associated with a "classical" artistic style and the bearded one as representing an "Eastern" one drawing from ancient Syria, and Persia seems impossible to sustain, and does not feature in more recent analyses. Equally attempts to relate on a consistent basis the explanation for the type chosen in a particular work to the differing theological views of the time have been unsuccessful.[41] From the 3rd century on, some Christian leaders, such as Clement of Alexandria had recommended the wearing of by Christian men.[42] The centre parting was also seen from early on, and was also associated with long-haired philosophers.

From the middle of the 4th century, after Christianity was legalized by the Edict of in 313, and gained Imperial favour, there was a new range of images of ,[43] using either of the two physical types described above, but adopting the costume and often the poses of Imperial . These developed into the various forms of . Some scholars reject the connection between the political events and developments in iconography, seeing the change as a purely theological one, resulting from the shift of the concept and title of Christ as Emperor, wearing Pantocrator ("Ruler of all") from (still not portrayed in military dress, and crushing art) to Christ, which was a development of the same period, perhaps led the serpent representing by (d. 373).[44] . "I am the way and the truth and the life" (John Another depiction drew from classical images of philosophers, often 14:6) reads the inscription. shown as a youthful "intellectual wunderkind" in Roman sarcophagii; , after 500 the Traditio Legis image initially uses this type.[45] Gradually Jesus became shown as older, and during the 5th century the image with a beard and long hair, now with a cruciform halo, came to dominate, especially in the Eastern Empire. In the earliest large New Testament mosaic cycle, in Sant'Apollinare Nuovo, Ravenna (ca. 520), Jesus is beardless though the period of his ministry until the scenes of the Passion, after which he is shown with a beard.[46]

https://en.wikipedia.org/wiki/Depiction_of_Jesus 5/23 12/18/2019 Depiction of Jesus - Wikipedia The Good Shepherd, now clearly identified as Christ, with halo and often rich robes, is still depicted, as on the apse mosaic in the church of in Rome, where the twelve apostles are depicted as twelve sheep below the imperial Jesus, or in the Mausoleum of Galla Placidia at Ravenna.

Once the bearded, long-haired Jesus became the conventional representation of Jesus, his facial features slowly began to be standardised, although this process took until at least the 6th century in the Eastern Church, and much longer in the West, where clean-shaven Jesuses are common until the 12th century, despite the influence of Byzantine art. But by the late the beard became almost universal and when showed a clean-shaven -like Christ in his fresco in the (1534–41) he came under persistent attack in the Counter- climate of Rome for this, as well as other things.[47]

French scholar Paul Vignon has listed fifteen similarities ("marks", like tilaka)[48] between most of the icons of Jesus after this point, particularly in the icons of "Christ Pantocrator" ("The all-powerful Messiah"). He claims that these are due to the availability of the (which he claims to be Christ in Majesty, still with no beard, [49] identical to the , via ) to the from an English 12th-century artists. Certainly images believed to have miraculous origins, or . the , believed to be a portrait of Mary from the life by Luke, were widely regarded as authoritative by the Early Medieval period and greatly influenced depictions. In Eastern Orthodoxy the form of images was, and largely is, regarded as revealed truth, with a status almost equal to scripture, and the aim of artists is to copy earlier images without originality, although the style and content of images does in fact change slightly over time.[50]

As to the historical appearance of Jesus, in one possible of the apostle Paul's First Epistle to the Corinthians, Paul urges Christian men of first-century Corinth not to have long hair.[51] An early commentary by (ca. AD 354 – ca. AD 420/440) says, "Paul was complaining because men were fussing about their hair and women were flaunting their locks in church. Not only was this dishonoring to them, but it was also an incitement to fornication."[52] Some have speculated that Paul was a who kept his hair long even though such speculation is at odds with Paul's statement in I Corinthians 11:14 that long hair for men was shameful at the time. Jesus was a practicing Jew so presumably had a beard.

Later periods By the 5th century depictions of the Passion began to appear, perhaps reflecting a change in the theological focus of the early Church.[53] The 6th-century includes some of the earliest surviving images of the and resurrection.[53] By the 6th century the bearded depiction of Jesus had become standard in the East, though the West, especially in northern Europe, continued to mix bearded and unbearded depictions for several centuries. The depiction with a longish face, long straight brown hair parted in the middle, and almond shaped eyes shows https://en.wikipedia.org/wiki/Depiction_of_Jesus 6/23 12/18/2019 Depiction of Jesus - Wikipedia consistency from the 6th century to the present. Various legends developed which were believed to authenticate the historical accuracy of the standard depiction, such as the image of Edessa and later the Veil of Veronica.[54]

Partly to aid recognition of the scenes, narrative depictions of the Life of Christ focused increasingly on the events celebrated in the major feasts of the church Christ Carrying the Cross, 1580, by calendar, and the events of , whose art reflects both his roots in Greek Orthodox traditions the Passion, neglecting the and the Counter- miracles and other events of Reformation Jesus' public ministry, except for the raising of Lazarus, where the mummy-like The oldest surviving panel of wrapped body was shown standing upright, giving an Christ Pantocrator, encaustic on unmistakable visual signature.[55] A cruciform halo was worn panel, c. 6th century, showing the only by Jesus (and the other persons of the ), while plain appearance of Jesus that is still immediately recognised today. halos distinguished Mary, the Apostles and other , helping the viewer to read increasingly populated scenes.[55]

The period of Byzantine acted as a barrier to developments in the East, but by the 9th century art was permitted again. The was a major theme in the East and every Eastern Orthodox monk who had trained in icon painting had to prove his craft by painting an icon of the Transfiguration.[56] However, while Western depictions increasingly aimed at , in Eastern icons a low regard for perspective and alterations in the size and proportion of an image aim to reach beyond earthly reality to a spitual meaning.[57]

The 13th century witnessed a turning point in the portrayal of the powerful image of Jesus as a wonder worker in the West, as the Franciscans began to emphasize the humility of Jesus both at his birth and his death via the nativity scene as well as the crucifixion.[58][59][60] The Franciscans approached both ends of this spectrum of emotions and as the joys of the Nativity of were added to the agony of crucifixion a whole new range of emotions were ushered in, with wide-ranging cultural impact on the image of Jesus for centuries thereafter.[58][60][61][62]

After , and others systematically developed uncluttered images that focused on the depiction of Jesus with an ideal human beauty, in works like 's Last Supper, arguably the first High painting.[63][64] Images of Jesus now drew on classical sculpture,

https://en.wikipedia.org/wiki/Depiction_of_Jesus 7/23 12/18/2019 Depiction of Jesus - Wikipedia at least in some of their poses. However Michelangelo was considered to have gone much too far in his beardless Christ in his The Last Judgment fresco in the Sistine Chapel, which very clearly adapted classical sculptures of Apollo, and this path was rarely followed by other artists.

The was contemporary with the start of the Protestant Reformation which, especially in its first decades, violently objected to almost all public religious images as idolatrous, and vast numbers were destroyed. Gradually images of Jesus became acceptable to most Protestants in various contexts, especially in narrative contexts, as book illustrations and prints, and later in larger paintings. Protestant art continued the now-standard depiction of the physical appearance of Jesus. Meanwhile, the Catholic Counter-Reformation re-affirmed the importance of art in assisting the devotions of the faithful, and encouraged the production of new images of or including Jesus in enormous numbers, also continuing to use the standard depiction.

By the end of the 19th century, new reports of miraculous images of Jesus had appeared and continue to receive significant attention, e.g. 's 1898 photograph of the Shroud of Turin, one of the most controversial artifacts in history, which during its May 2010 exposition it was visited by over 2 million people.[65][66][67] Another 20th-century depiction of Jesus, namely the based on 's reported vision has over 100 million followers.[68][69] The first cinematic portrayal of Jesus was in the 1897 film La Passion du Christ produced in , which lasted 5 minutes.[70][71] Thereafter cinematic portrayals have continued to show Jesus with a beard in the standard western depiction that resembles traditional images.[72]

Conventional depictions Conventional depictions of Christ developed in include the narrative scenes of the Life of Christ, and many other conventional depictions:

Common narrative scenes from the Life of Christ in art include:

Nativity of Jesus in art Adoration of the Shepherds Adoration of the Magi Last Judgement Devotional images include:

Madonna and child Christ in Majesty Christ Pantokrator Pietà (mother and dead son) Man of sorrows Pensive Christ https://en.wikipedia.org/wiki/Depiction_of_Jesus 8/23 12/18/2019 Depiction of Jesus - Wikipedia Range of depictions Certain local traditions have maintained different depictions, sometimes reflecting local racial characteristics, as do the Catholic and Orthodox depictions. The Coptic Church of separated in the 5th century, and has a distinctive depiction of Jesus, consistent with Coptic art. The Ethiopian Church, also Coptic, developed on Coptic traditions, but shows Jesus and all Biblical figures with the Ethiopian appearance of its members. Other traditions in Asia and elsewhere also show the race of Jesus as that of the An 18th-century local population (see Chinese picture in the gallery below). In modern times Ethiopian image of such variation has become more common, but images following the Jesus traditional depiction in both physical appearance and clothing are still dominant, perhaps surprisingly so. In Europe, local ethnic tendencies in depictions of Jesus can be seen, for example in Spanish, German, or Early Netherlandish painting, but almost always surrounding figures are still more strongly characterised. For example, the Mary, after the vision reported by Bridget of , was often shown with blonde hair, but Christ's is very rarely paler than a light brown.

Some medieval Western depictions, usually of the Meeting at Emmaus, where his disciples do not recognise him at first (Luke.24.13–32), showed Jesus wearing a .[73]

In 2001, the television series used one of three first- century Jewish skulls from a leading department of in Israel to depict Jesus in a new way.[74] A face was constructed using forensic anthropology by Richard Neave, a retired medical artist from the Unit of Art in Medicine at the .[75] The face that Neave constructed suggested that Jesus would have had a broad face and large nose, and differed significantly from the traditional depictions of Jesus in renaissance art.[76] Additional information about Jesus' skin The CGI model created in 2001 color and hair was provided by , a New Testament depicted Jesus' skin color as being [76] scholar and professor at Duke University. darker and more olive-colored than his traditional depictions in Western Using third-century images from a synagogue—the earliest art. pictures of Jewish people[77]—Goodacre proposed that Jesus' skin color would have been darker and swarthier than his traditional Western image. He also suggested that he would have had short, curly hair and a short cropped beard.[78] This is also confirmed in the First Epistle to the Corinthians, where states that it is "disgraceful" for a man to have long hair.[79] As Paul knew many of the disciples and members of Jesus' family, it is unlikely that he would have written such a thing had Jesus had long hair.[78] Although entirely speculative as the face of Jesus,[75] the result of the study determined that Jesus' skin would have been more olive-colored than white,[76] and that he would have looked like a typical Galilean Semite. Among the points made was that the records that Jesus's Judas had to point him out to those arresting him in . The implied argument is that if Jesus's physical appearance had differed markedly from his disciples, then he would have been relatively easy to identify.[78]

https://en.wikipedia.org/wiki/Depiction_of_Jesus 9/23 12/18/2019 Depiction of Jesus - Wikipedia Miraculous images of Jesus There are, however, some images which have been claimed to realistically show how Jesus looked. One early tradition, recorded by Eusebius of Caesarea, says that Jesus once washed his face with water and then dried it with a cloth, leaving an image of his face imprinted on the cloth. This was sent by him to King Abgarus of Edessa, who had sent a messenger asking Jesus to come and heal him of his disease. This image, called the Mandylion or Image of Edessa, appears in history in around 525. Numerous replicas of this "image not made by human hands" remain in circulation. There are also icon compositions of Jesus and Mary that are traditionally believed by many Orthodox to have originated in paintings by . Secondo Pia's negative of his photo of the A currently familiar depiction is that on the Shroud of Turin, whose records Shroud of Turin. Many go back to 1353. Controversy surrounds the shroud and its exact origin Christians believe this image to be the Holy remains subject to debate.[80] The Shroud of Turin is respected by Face of Jesus. Christians of several traditions, including , Catholics, Lutherans, Methodists, Orthodox, Pentecostals, and Presbyterians.[81] It is one of the approved by the , that to the , now uses the image of the face on the shroud as it appeared in the negative of the photograph taken by amateur photographer Secondo Pia in 1898.[82][83] The image cannot be clearly seen on the shroud itself with the naked eye, and it surprised Pia to the extent that he said he almost dropped and broke the photographic plate when he first saw the developed negative image on it in the evening of 28 May 1898.[83]

Before 1898, devotion to the Holy Face of Jesus used an image based on the Veil of Veronica, where legend recounts that Veronica from encountered Jesus along the on the way to . When she paused to wipe the sweat from Jesus's face with her veil, the image was imprinted on the cloth. The establishment of these images as Catholic devotions traces back to Sister and who started and promoted them from 1844 to 1874 in , and Sister De Micheli who associated the image from the Shroud of Turin with the devotion in 1936 in Milan .

A very popular 20th-century depiction among Roman Catholics and Anglicans is the Divine Mercy image,[84] which was approved by John Paul II in April 2000.[85] The Divine Mercy depiction is formally used in celebrations of and is venerated by over 100 million Catholics who follow the devotion.[69] The image is not part of in that it has been depicted by modern artists, but the pattern of the image is said to have been miraculously shown to Saint Faustina Kowalska in a vision of Jesus in 1931 in Płock, Poland.[85] Faustina wrote in her diary that Jesus appeared to her and asked her to "Paint an image according to the pattern you see".[85][86] Faustina eventually found an artist (Eugene Kazimierowski) to depict the Divine Mercy image of Jesus with his right hand raised in a sign of blessing and the left hand touching the garment near his breast, with two large rays, one red, the other white emanating from near his heart.[86][87] After Faustina's death, a number of other artists painted the image, with the depiction by Adolf Hyla being among the most reproduced.[88]

https://en.wikipedia.org/wiki/Depiction_of_Jesus 10/23 12/18/2019 Depiction of Jesus - Wikipedia stated that The was the result of a "miraculous vision that he received late one night", proclaiming that "the answer came at 2 A.M., January 1924" as "a vision in response to my prayer to God in a despairing situation."[89] The Head of Christ is venerated in the Coptic Orthodox Church,[90] after twelve-year-old Ayoub, who diagnosed with cancer, saw the eyes of Jesus in the painting shedding tears; Fr. Ishaq Soliman of St. Mark's Coptic Church in Houston, on the same day, "testified to the miracles" and on the next day, "Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia".[91] With episcopal approval from Tadros of Port Said and Bishop Yuhanna of "The Saviour Not Made by Hands", Cairo, "Sallman's Head of Christ was exhibited in the Coptic a Novgorodian icon from c. 1100 Church", with "more than fifty thousand people" visiting the based on a Byzantine model church to see it.[91] In addition, several religious magazines have explained the "power of Sallman's picture" by documenting occurrences such as headhunters letting go of a businessman and fleeing after seeing the image, a "thief who aborted his misdeed when he saw the Head of Christ on a living room wall", and deathbed conversions of non-believers to Christianity.[92] As an extraordinarily successful work of Christian popular devotional art,[93] it had been reproduced over half a billion times worldwide by the end of the 20th century.[94]

Examples

https://en.wikipedia.org/wiki/Depiction_of_Jesus 11/23 12/18/2019 Depiction of Jesus - Wikipedia

A representation of Christ Pantocrator Jesus depicted on 11th-century Christ Jesus riding in his mosaic in the an early 8th-century Pantocrator with the chariot. Mosaic of above the Byzantine coin. After halo in a cross form, the 3rd century on Katholikon of the the Byzantine used throughout the the Vatican grottoes Church of the Holy iconoclasm all coins Middle Ages. under St. Peter's Sepulchre in had Christ on them. Characteristically, Basilica. Jerusalem. he is portrayed as similar in features and skin tone to the culture of the artist.

A beardless Christ An unusual image of The Baptism of Christ as the in the Anglo-Saxon Jesus as a medieval Christ, by Piero Suffering New Minster knight bearing an della Francesca, Redeemeer, c. Charter, Winchester, attributed coat of 1449. 1488-1500, by mid-10th century arms based on the Veil of Veronica

https://en.wikipedia.org/wiki/Depiction_of_Jesus 12/23 12/18/2019 Depiction of Jesus - Wikipedia

Mary and Christ, in A traditional Jesus, aged 12, A Chinese depiction The Last Judgement Ethiopian depiction Jesus among the of Jesus and the by Michelangelo, of Jesus and Mary Doctors (as a child rich man, from Mark this depiction was with distinctively debating in the chapter 10. much criticised. Ethiopian features. temple), 1630 by Jusepe de Ribera.

A mural depicting The Word of Life 's Transfiguration of the baptism of Jesus mural on the side of depiction of the Jesus depicting him in a typical Haitian the Hesburgh Crucifixion as Stabat with , rural scenery, Library at the Mater, 1482. and three apostles Cathédrale de University of Notre by Carracci, 1594. Sainte Trinité, Port- Dame. au-Prince, Haiti.

The Crucifixion of Jesus as Good Trevisani's depiction Jesus Christ Christ, 1558, by Shepherd (stained of the typical Pantocrator – 13th- . glass at St John's baptismal scene century mosaic from Ashfield. with the sky opening . and the Holy Spirit descending as a dove, 1723.

https://en.wikipedia.org/wiki/Depiction_of_Jesus 13/23 12/18/2019 Depiction of Jesus - Wikipedia

Resurrection by 19th-century Head of Jesus Jesus, with crown Noël Coypel, 1700, Russian icon of (1890) by Enrique and dove of peace, using a hovering Christ Pantocrator. Simonet. pacifies two fighting depiction of Jesus. warriors, Berlin Cathedral, c. 1900

"Christ All Mercy" A Nestorian Reconstruction of Manichaean Eastern Orthodox "Crucifixion of the Chinese Painting of the icon. Jesus", illustration Nestorian painting of Buddha Jesus, a from the Nestorian Jesus Christ, 9th 12th- or 13th- Evangelion, 16th century. century Chinese century. hanging scroll depicting Jesus Christ as a Manichaean prophet.

https://en.wikipedia.org/wiki/Depiction_of_Jesus 14/23 12/18/2019 Depiction of Jesus - Wikipedia

Reconstruction of Contemporary icon the enthroned Jesus of Christ image on a Manichaean temple banner from ca. 10th-century Qocho (East Central Asia).

Sculpture

https://en.wikipedia.org/wiki/Depiction_of_Jesus 15/23 12/18/2019 Depiction of Jesus - Wikipedia

Monumento al Christ the King in Christ the Christ in Majesty, Divino Salvador del , the most Mundo is an iconic famous icon in Rio landmark that de Janeiro, represents city. It symbolizes the Transfiguration of Jesus standing on top of earth as the savior of the world

Michelangelo's Pietà Cristo de la Cristo del Otero, 's shows Mary holding Concordia in , above Palencia, , Church of the dead body of claimed to be the Our Lady, Jesus largest statue of Copenhagen Jesus ever made

https://en.wikipedia.org/wiki/Depiction_of_Jesus 16/23 12/18/2019 Depiction of Jesus - Wikipedia

Infant Jesus of Lux Mundi, a statue The boy Jesus as Prague, one of of Jesus by Tom the Good Shepherd, several miniature Tsuchiya completed Church of the Good statues of an infant in 2012[95] Shepherd Christ that are much (Rosemont, venerated by the Pennsylvania) faithful

See also

Category:Cultural depictions of Jesus Crucifixion God the Father in Western art Ichthys Perceptions of religious imagery in natural phenomena Race of Jesus in Christian art Salvator Mundi Veil of Veronica

Notes 1. Philip Schaff commenting on Irenaeus, wrote, 'This censure of images as a Gnostic peculiarity, and as a heathenish corruption, should be noted'. Footnote 300 on Contr. Her. .I.XXV.6. ANF 2. Synod of Elvira, 'Pictures are not to be placed in churches, so that they do not become objects of worship and adoration', AD 306, Canon 36 3. Green, Evangelism in the Early Church, Wm. B. Eerdmans Publishing, 2004, p. 244 (http s://books.google.com/books?vid=ISBN0802827683&id=9F-nnE2dfqUC&pg=PA244&lpg=PA244& dq=alexamenos&sig=RUBibspJSosl4SG4p1bzffQupnI) 4. L. Balch, Carolyn Osiek, Early Christian Families in Context: An Interdisciplinary Dialogue, Wm. B. Eerdmans Publishing, 2003, p. 103 (https://books.google.com/books?vid=ISBN08028398 6X&id=VjMdbpzLhRQC&pg=PA103&lpg=PA103&dq=alexamenos&sig=wy9th3yPkBtg4frS_T26iK 4_8lo#PPA103,M1)

https://en.wikipedia.org/wiki/Depiction_of_Jesus 17/23 12/18/2019 Depiction of Jesus - Wikipedia 5. B. Hudson MacLean, An introduction to Greek epigraphy of the Hellenistic and Roman periods from Alexander the Great down to the reign of Constantine, University of Michigan Press, 2002, p. 208 (https://books.google.com/books?vid=ISBN0472112384&id=x2AD3M77TgMC&pg=RA1-PA20 8&lpg=RA1-PA208&dq=alexamenos&sig=BBohYqZwJkfRMaJkEwd8Q4HgR9g) 6. Schwarz, Hans (30 October 1998). (https://books.google.com/?id=rcrsdlz041AC&pg= PA207&lpg=PA207&dq=alexamenos). Wm. B. Eerdmans Publishing. p. 207. ISBN 9780802844637 – via Google Books. 7. "Archived copy" (https://web.archive.org/web/20080601121603/http://faculty.bbc.edu/rdecker/alex _graffito.htm). Archived from the original (http://faculty.bbc.edu/rdecker/alex_graffito.htm) on 1 June 2008. Retrieved 15 May 2008. 8. Matthew 14:46 (http://www.usccb.org/bible/mt/14:36) 9. Luke 8:43–44 (http://www.usccb.org/bible/luke/8:43) 10. Harold W. Attridge, Gohei Hata, et al. Eusebius, Christianity, and Judaism. Wayne, MI: Wayne State University Press, 1992. pp. 283–284. 11. English translation found at Catholic University of America, accessed 5 September 2012 [1] (http s://web.archive.org/web/20120716202800/http://faculty.cua.edu/pennington/Canon%20Law/Elvira Canons.htm) 12. John Calvin Institutes of the Christian Religion Book 1, Chapter V. Section 6. 13. Hellemo, pp. 3–6, and Cartlidge and Elliott, 61 (Eusebius quotation) and passim. Clement approved the use of symbolic pictograms. 14. The Second Church: Popular Christianity A.D. 200–400 by Ramsay MacMullen, The Society of Biblical Literature, 2009 15. McKay, John; Hill, Bennett (2011). A History of World Societies, Combined Volume (https://books. google.com/books?id=BM0BrBDztzgC&pg=PA166) (9 ed.). United States of America: Macmillan. p. 166. ISBN 978-0-312-66691-0. Retrieved 5 August 2013. 16. Orpheus as a symbol for David was already found in hellenized Jewish art. Hall, 66 17. Syndicus, 21–3 18. Cartlidge and Elliott, 53–55. See also The Two Faces of Jesus by Robin M. Jensen, Bible Review, 17.8, October 2002, and Understanding Early Christian Art by Robin M. Jensen, Routledge, 2000 19. Hall, 70–71 20. Brandon, S.G.F, "Christ in verbal and depicted imagery". Neusner, (ed.): Christianity, Judaism and other Greco-Roman cults: Studies for Morton Smith at sixty. Part Two: Early Christianity, pp. 166–167. BRILL, 1975. ISBN 978-90-04-04215-5 21. Zanker, 299 22. Every, George; , p. 65, Hamlyn 1988 (1970 1st edn.) ISBN 0-600-34290-5 23. Syndicus, 92 24. Cartlidge and Elliott, 53 – this is Psalm 44 in the ; English bible translations prefer "" and "majesty" 25. Zanker, 302. 26. Schiller, I 132. The image comes from the crypt of Lucina in the Catacombs_of_San_Callisto. There are a number of other 3rd-century images. 27. Painted over 40 times in the catacombs of Rome, from the early 3rd century on, and also on sarcophagii. As with the Baptism, some early examples are from Gaul. Schiller, I, 181 28. Syndicus, 94-5 29. Syndicus, 92-3, Catacomb images (https://archive.today/20120708110958/http://campus.belmont. edu/honors/CatPix/CatPix.html) 30. "CATHOLIC ENCYCLOPEDIA: Portraits of the Apostles" (http://www.newadvent.org/cathen/12294 b.htm). Retrieved 10 August 2008. https://en.wikipedia.org/wiki/Depiction_of_Jesus 18/23 12/18/2019 Depiction of Jesus - Wikipedia 31. Cartlidge and Elliott, 60 32. The Two Faces of Jesus by Robin M. Jensen, Bible Review, 17.8, Oct 2002 33. New Catholic Encyclopedia: Portraits of the Apostles 34. Jesus, the Magician by Morton Smith, Harper & Row, 1978 35. Zanker, 302 36. Zanker, 300–303, who is rather dismissive of other origins for the type 37. Syndicus, 93 38. Cartlidge and Elliott, 56–57. St Paul often has a long beard, but short hair, as in the catacomb fresco illustrated. St also often has long hair and a beard, and often retains in later art the thick shaggy or wavy long hair seen on some of the earliest depictions of Jesus, and in images of philosophers of the Charismatic type. 39. Zanker, 257–266 on the charismatics; 299–306 on the type used for Christ 40. Zanker, p. 299, note 48, and 300. [2] (http://www.escholarship.org/editions/view?docId=ft3f59n8b0 &chunk.id=nsd0e5616&toc.id=endnotes&toc.depth=1&brand=eschol;query=Monza&anchor.id=d0 e6396#X). See also Cartlidge and Elliott, 55–61. 41. Grabar, 119 42. Zanker, 290 43. Syndicus, 92-7, though images of Christ the King are found in the previous century also – Hellemo, 6 44. Hellemo, 7–14, citing K. Berger in particular. 45. Zanker, 299. Zanker has a full account of the development of the image of Christ at pp 289–307. 46. The two parts of the cycle are on opposite walls of the nave; Talbot Rice, 157. Bridgeman Library (http://www.bridgemanart.com/search.aspx?key=Ravenna%20Apollinare%20nuovo&filter=CBPOI HV#2%7CCBPOIHV%7C15%7Cx150) 47. "Last Judgment" (https://www.khanacademy.org/humanities/renaissance-reformation/high-ren-flor ence-rome/michelangelo/a/michelangelo-last-judgment), Esperanca Camara, Khan Academy; Blunt Anthony, Artistic Theory in Italy, 1450–1600, 112-114, 118-1191940 (refs to 1985 edn), OUP, ISBN 0198810504 48. The Shroud of Christ ("marks") (https://books.google.com/books?id=cQcBJx0ryjcC&q=marks#v=s nippet&q=marks&f=false) by Paul Vignon, Paul Tice, (2002 – ISBN 1-885395-96-5) 49. The Shroud of Christ ("Constantinople") (https://books.google.com/books?id=cQcBJx0ryjcC&q=C onstantinople#v=snippet&q=Constantinople&f=false) by Paul Vignon, Paul Tice, op. cit. 50. Grigg, 5-7 51. Regarding the alternate NIV translation of 1 Corinthians 11:7 (http://www.biblegateway.com/passa ge/?search=1+Corinthians+11&version=NIV#fen-NIV-28592b), and in agreement with modern interpretations of the New Testament, Walvoord and Zuck note, "The alternate translation in the NIV margin, which interprets the man's covering as long hair, is largely based on the view that verse 15 equated the covering with long hair. It is unlikely, however, that this was the point of verse 4." John F. Walvoord and Roy B. Zuck, eds., Knowledge Commentary: New Testament, "1 Corinthians 11:4", (Wheaton: Victor Books, 1983) 52. Institute for Classical Christian Studies (ICCS) and Thomas Oden, eds., The Ancient Christian Commentary Series, "1 Corinthians 1:4", (Westmont: Inter-Varsity Press, 2005), ISBN 0-8308- 2492-8.Google Books (https://books.google.com/books?id=OiHKpKh0cVMC&lpg=PP1&dq=08308 24928&pg=PA104) 53. The New Westminster Dictionary of Church History by Robert Benedetto 2006 ISBN 0-8264-8011- X pages 51-53 54. Jensen, Robin M. (2010). "Jesus in Christian art". In Burkett, Delbert (ed.). The Blackwell Companion to Jesus. John Wiley & Sons. pp. 477–502. ISBN 978-1-4443-5175-0. https://en.wikipedia.org/wiki/Depiction_of_Jesus 19/23 12/18/2019 Depiction of Jesus - Wikipedia 55. Iconography of Christian Art, Vol. I by G. Schiller 1971 Lund Humphries, London. figs 150-53, 346-54. ISBN 0-85331-270-2 pages 181–184 56. The image of God the Father in Orthodox theology and iconography by Steven Bigham 1995 ISBN 1-879038-15-3 pages 226-227 57. Archimandrite Vasileios of Stavronikita, "Icons as Liturgical Analogies" in Hymn of entry: liturgy and life in the Orthodox church 1997 ISBN 978-0-88141-026-6 pages 81-90 58. The image of St Francis by Rosalind B. Brooke 2006 ISBN 0-521-78291-0 pages 183-184 59. The tradition of Catholic prayer by Christian Raab, Harry Hagan, St. Meinrad Archabbey 2007 ISBN 0-8146-3184-3 pages 86-87 60. The vitality of the by George Finger Thomas 1944 ISBN 0-8369-2378-2 page 110-112 61. La vida sacra: contemporary Hispanic sacramental theology by James L. Empereur, Eduardo Fernández 2006 ISBN 0-7425-5157-1 pages 3-5 62. Philippines by Lily Rose R. Tope, Detch P. Nonan-Mercado 2005 ISBN 0-7614-1475-4 page 109 63. Experiencing Art Around Us by Thomas Buser 2005 ISBN 978-0-534-64114-6 pages 382-383 64. Leonardo da Vinci, the Last Supper: a Cosmic Drama and an Act of Redemption by Michael Ladwein 2006 pages 27 and 60 65. Arthur Barnes, 2003 Holy Shroud of Turin Kessinger Press ISBN 0-7661-3425-3 pages 2-9 66. William Meacham, The Authentication of the Turin Shroud:An Issue in Archaeological Epistemology, Current Anthropology, Volume 24, No 3, June 1983 67. "Zenit, May 5, 2010" (https://web.archive.org/web/20120927020556/http://www.zenit.org/rssenglis h-29146). Zenit.org. 5 May 2010. Archived from the original (http://www.zenit.org/rssenglish-2914 6) on 27 September 2012. Retrieved 4 November 2011. 68. Catherine M. Odell, 1998, Faustina: Apostle of Divine Mercy OSV Press ISBN 978-0-87973-923-2 page 165 69. Am With You Always by Benedict Groeschel 2010 ISBN 978-1-58617-257-2 page 548 70. The Challenge of the Silver Screen (Studies in Religion and the Arts) ISBN By Freek L. Bakker 2009 ISBN 90-04-16861-3 page 1 71. Encyclopedia of early cinema by Richard Abel2005 ISBN 0-415-23440-9 page 518 72. The Blackwell Companion to Jesus edited by Delbert Burkett 2010 ISBN 1-4051-9362-X page 526 73. A 12th-century English example is in the Getty Museum (http://www.getty.edu/art/gettyguide/artOb jectDetails?artobj=311098&handle=book&pg=3) Archived (https://web.archive.org/web/20100607 133945/http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=311098&handle=book&pg=3) 7 June 2010 at the Wayback Machine 74. Wells, Matt (27 March 2001). "Is this the real face of Jesus Christ?" (https://www.theguardian.com/ media/2001/mar/27/broadcasting.uknews2). The Guardian. London: Guardian. ISSN 0261-3077 (https://www.worldcat.org/issn/0261-3077). OCLC 60623878 (https://www.worldcat.org/oclc/60623 878). Retrieved 12 May 2011. 75. Legon, Jeordan (25 December 2002). "From science and computers, a new face of Jesus" (http:// edition.cnn.com/2002/TECH/science/12/25/face.jesus/). CNN. Retrieved 12 May 2011. 76. Wilson, Giles (27 October 2004). "So what color was Jesus?" (http://news.bbc.co.uk/2/hi/uk_new s/magazine/3958241.stm). London: BBC News. Retrieved 12 May 2011. 77. "Experts Reconstruct Face Of Jesus" (http://www.cbsnews.com/stories/2001/03/27/tech/main2819 14.shtml). London: CBS. 27 March 2001. Retrieved 12 May 2011. 78. Fillon, Mike (7 December 2002). "The Real Face Of Jesus" (http://www.popularmechanics.com/sci ence/health/forensics/1282186). Popular Mechanics. San Francisco: Hearst. ISSN 0032-4558 (htt ps://www.worldcat.org/issn/0032-4558). OCLC 3643271 (https://www.worldcat.org/oclc/3643271). Retrieved 12 May 2011. https://en.wikipedia.org/wiki/Depiction_of_Jesus 20/23 12/18/2019 Depiction of Jesus - Wikipedia 79. 1 Corinthians 11:14. King James Version: Oxford Standard (1769) 80. William Meacham, The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology, Current Anthropology, Volume 24, No 3, June 1983 81. The Rev. Albert R. Dreisbach (1997). "The Shroud of Turin: Its Ecumenical Implications". "Returning to the ecumenical dimension of this sacred linen, it became very evident to me on the night of August 16, 1983, when local judicatory leaders offered their corporate blessing to the TURIN SHROUD EXHIBIT and participated in the Evening Office of the Holy Shroud. The Greek Archbishop, the Roman Catholic Archbishop, the Episcopal Bishop and the Presiding Bishop of the AME Church gathered before the world's first full size, backlit transparency of the Shroud and joined representing the , Baptists, Lutherans, Methodists and Presbyterians in an amazing witness to ecumenical unity. At the conclusion of the service, His Grace Bishop John of the Greek Orthodox Diocese of Atlanta, turned to me and said: "Thank you very much for picking our day." I didn't fully understand the significance of his remark until he explained to me that August 16th is the Feast of the Holy Mandylion commemorating the occasion in 944 A.D. when the Shroud was first shown to the public in Byzantium following its arrival the previous day from Edessa in southeastern Turkey." Missing or empty |url= (help) 82. Joan Carroll Cruz, 1984, OSV Press ISBN 0-87973-701-8 page 49 83. Ann Ball, 2003 Encyclopedia of Catholic Devotions and Practices ISBN 0-87973-910-X pages 635 and 239 84. Brockman, Norbert (13 September 2011). Encyclopedia of Sacred Places. ABC-CLIO. p. 140. ISBN 978-1-59884-654-6. 85. Tim Drake, 2002, Saints of the Jubilee, ISBN 978-1-4033-1009-5 pages 85–95 86. A Divine Mercy Resource by Richard Torretto 2010 ISBN 1-4502-3236-1 "The Image of Divine Mercy" pages 84–107 87. Catherine M. Odell, 1998, Faustina: Apostle of Divine Mercy OSV Press ISBN 978-0-87973-923-2 pages 63–64 88. Butler's lives of the saints: the third millennium by Paul Burns, Alban Butler 2001 ISBN 978-0- 86012-383-5 page 252 89. Morgan, David (1996). Icons of American : The Art of Warner Sallman. Yale University Press. p. 62. ISBN 978-0-300-06342-4. "Sallman always insisted that his initial sketch of Jesus was the result of spiritual "picturization," a miraculous vision that he received late one night. "The answer came at 2 A.M., January 1924," he wrote. "It came as a vision in response to my prayer to God in a despairing situation." The situation was a deadline: Sallman had been commissioned to paint the February cover for the Covenant Companion, the monthly magazine of the Evangelical Covenant Church, and he had artist's block for weeks. The February issue was focusing on Christian youth, and Sallman's assignment was to provide an inspirational image of Christ that would "challenge our young people." "I mused over it for a long time in prayer and meditation," Sallman recalled, "seeking for something which would catch the eye and convey the message of the Christian gospel on the cover."" 90. Otto F.A. Meinardus, Ph.D. (Fall 1997). "Theological Issues of the Coptic Orthodox Inculturation in Western Society". Coptic Church Review. 18 (3). ISSN 0273-3269 (https://www.worldcat.org/issn/ 0273-3269). "An interesting case of inculturation occurred on Monday, November 11, 1991 when the 12-year-old Isaac Ayoub of Houston, Texas, suffering from leukemia, saw that the eyes of Jesus in the famous Sallman Head of Christ began moving and shedding an oily liquid like tears. On the same day, Fr. Ishaq Soliman, the Coptic priest of St. Mark’s Coptic Church in Houston, testified to the miracles. On the following day, Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia. Sallman’s Head of Christ was exhibited in the Coptic Church and more than 50,000 people visited the church. Two Coptic , Anbâ Tadros of Port Said and Anbâ Yuhanna of Cairo verified the story."

https://en.wikipedia.org/wiki/Depiction_of_Jesus 21/23 12/18/2019 Depiction of Jesus - Wikipedia 91. Meinardus, Otto F. A. (17 October 2006). Christians In Egypt: Orthodox, Catholic, and Protestant Communities – Past and Present. American University in Cairo Press. p. 70. ISBN 978-1-61797- 262-1. "An interesting case of inculturation took place on Monday, November 11, 1991 when the twelve-year-old Isaac Ayoub of Houston, Texas, suffering from leukemia, saw that the eyes of Jesus in the famous Sallman "Head of Christ" began moving and shedding an oily liquid like tears. On the same day, Father Ishaq Soliman, the Coptic priest of St. Mark's Coptic Church in Houston, testified to the miracles. On the following day, Dr. Atef Rizkalla, the family physician, examined the youth and certified that there were no traces of leukemia. Sallman's Head of Christ was exhibited in the Coptic Church and more than fifty thousand people visited the church. Two Coptic bishops, Bishop Tadros of Port Said and Bishop Yuhanna of Cairo, verified the story." 92. Morgan, David (1996). The Art of Warner Sallman. Yale University Press. p. 192. ISBN 978-0- 300-06342-4. "Articles published in popular religious magazines during this time gathered together in an obviously didactic way several anecdotes concerning the power of Sallman's picture among nonwhites, non-Christians, and those exhibiting unacceptable behavior. We read of a white businessman, for instance, in a remote jungle, assaulted by a vicious group of headhunters who demand that he remove his clothes. In going through his billfold, they discover a small reproduction of Sallman's Christ, quickly apologize, then vanish "into the jungle without inflicting further harm." A second article relates the story of the thief who aborted his misdeed when he saw the Head of Christ on a living room wall. Another tells of the conversion of a Jewish woman on her deathbed, when a hospital chaplain shows her Sallman's picture." 93. Lippy, Charles H. (1 January 1994). Being Religious, American Style: A History of Popular Religiosity in the United States (https://books.google.com/books?id=3yB1R5485dUC&pg=PA185). Greenwood Publishing Group. p. 185. ISBN 978-0-313-27895-2. Retrieved 30 April 2014. "Of these one stands out as having deeply impressed itself of the American religious consciousness: the Head of Christ by artist Warner Sallman (1892–1968). Originally sketched in charcoal as a cover illustration for the Covenant Companion, the magazine of the Swedish Evangelical Mission Covenant of America denomination, and based on an image of Jesus in a painting by the French artist Leon Augustin Lhermitte, Sallman's Head of Christ was painted in 1940. In half a century, it had been produced more than five hundred million times in formats ranging from large-scale copies for use in churches to wallet-sized ones that individuals could carry with them at all times." 94. Blum, Edward J.; Harvey, Paul (21 September 2012). Color of Christ (https://books.google.com/bo oks?id=TPSB1QZkFU0C&pg=PA211). UNC Press Books. p. 211. ISBN 978-0-8078-3737-5. Retrieved 30 April 2014. "By the 1990s, Sallman's Head of Christ had been printed more than 500 million times and had achieved global iconic status." 95. "Construction progressing on new Jesus statue along I-75" (https://web.archive.org/web/2013062 9192543/http://www.wcpo.com/dpp/news/region_north_cincinnati/monroe/Construction-to-begin-o n-new-Jesus-statue-along-I-75#ixzz1y1CWlU3h). WCPO. 15 June 2012. Archived from the original (http://www.wcpo.com/dpp/news/region_north_cincinnati/monroe/Construction-to-begin-on -new-Jesus-statue-along-I-75#ixzz1y1CWlU3h) on 29 June 2013. Retrieved 7 September 2012.

References

Cartlidge, David R., and Elliott, J.K.. Art and the Christian , Routledge, 2001, ISBN 0- 415-23392-5, ISBN 978-0-415-23392-7, Google books (https://books.google.com/books?id=o0LB vOMYArYC&pg=PA240&dq=Dura+Europas+Christian&as_brr=3&ei=RZLkSebpF5KKNbePpZoN# PPA53,M1) Every, George; Christian Mythology, Hamlyn 1988 (1970 1st edn.) ISBN 0-600-34290-5 Grabar, André; Christian iconography: a study of its origins, Taylor & Francis, 1968, ISBN 0-7100- 0605-5, ISBN 978-0-7100-0605-9 Google books (https://books.google.com/books?id=ha89AAAAI AAJ&pg=PA119&lpg=PA119&dq=Christ-+iconography&source=bl&ots=B3OogDWHWF&sig =qChILbAMhNS98ytJDWb9fUtU4Ws&hl=en&ei=XK2ZSufAM6SQjAfwvtG4BQ&sa=X&oi=book_re sult&ct=result&resnum=1#v=onepage&q=Christ-Logos%20iconography&f=false) https://en.wikipedia.org/wiki/Depiction_of_Jesus 22/23 12/18/2019 Depiction of Jesus - Wikipedia Grigg, Robert, "Byzantine Credulity as an Impediment to Antiquarianism", Gesta, Vol. 26, No. 1 (1987), pp. 3–9, The University of Press on behalf of the International Center of Medieval Art, JSTOR (https://www.jstor.org/stable/767073) James Hall, A History of Ideas and Images in Italian Art, 1983, John Murray, London, ISBN 0- 7195-3971-4 Hellemo, Geir. Adventus Domini: eschatological thought in 4th-century apses and catecheses (htt ps://books.google.com/books?id=hWbqS96Gii8C). BRILL; 1989. ISBN 90-04-08836-9 ISBN 978- 90-04-08836-8. G Schiller, Iconography of Christian Art, Vol. I, 1971 (English trans from German), Lund Humphries, London, ISBN 0-85331-270-2 Eduard Syndicus; Early Christian Art; Burns & Oates, London, 1962 David Talbot Rice, Byzantine Art, 3rd edn 1968, Penguin Books Ltd Zanker, Paul. de:Paul Zanker. The Mask of Socrates, The Image of the Intellectual in Antiquity, University of California Press, 1995 Online Scholarship editions (http://www.escholarship.org/editi ons/view?docId=ft3f59n8b0&chunk.id=d0e5616&toc.depth=1&toc.id=d0e5616&brand=eschol;que ry=Monza#1)

External links

Pictures of Jesus Perhaps Derived from the Shroud of Turin (http://www.shroudstory.com/art.htm) December 2005 Warner Sallman's Head of Christ: An American Icon (http://www.godweb.org/sallman.htm) Is this the real face of Jesus Christ? (https://www.theguardian.com/media/2001/mar/27/broadcasti ng.uknews2) Images of Christ – the Mosaic of Hagia Sophia (http://www.pallasweb.com/deesis)

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