Depiction of Jesus

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catacomb of Commodilla
. One of the first bearded images of Jesus, late 4th century.
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The depiction of Jesus in pictorial form dates back to early Christian art and architecture, as aniconism in Christianity was rejected within the ante-Nicene period.[1][2][3][4] It 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 AD 300, but did not become established until the 6th century in

cruciform halo
also achieves. 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 Orthodoxy, Lutheranism, Anglicanism, and Roman Catholicism. The Shroud of Turin is now the best-known example, though the Image of Edessa and the Veil of Veronica were better known in medieval times.[not verified in body]

The representation of Jesus was controversial in the early period; the regional

Ten Commandments, most Evangelical Protestants still avoid displaying representations of Jesus in their places of worship.[7][8]

Early Christianity

Before Constantine

Incised sarcophagus slab with the Adoration of the Magi from the Catacombs of Rome, 3rd century. Plaster cast with added colour.

Except for Jesus wearing

Son of Man" in spirit form: "dressed in a robe reaching down to his feet and with a golden sash around his chest. The hair on his head were white like 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.

In the first-century AD, many Jews understood Exodus 20:4–6 ("

Dura-Europos synagogue (c. 240 AD) depict many scenes from the Tanakh. They are the earliest-known examples of Jewish figure art.[12][13]

During the

Protestants as an interdiction of the making of images of Christ.[15] The issue remained the subject of controversy until the end of the 4th century.[16]

The earliest surviving Christian art comes from the late 2nd to early 4th centuries on the walls of tombs belonging, most likely, to wealthy

classical painting
, have disappeared.

Dura Europos
, dating from about 235

Initially Jesus was represented indirectly by

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 historical Jesus at this period.[20] It continues the classical Kriophoros ("ram-bearer" figure), and in some cases may also represent the Shepherd of Hermas, a popular Christian literary work of the 2nd century.[21]

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 Magi, seen as the first theophany, or display of the incarnate Christ to the world at large.[22] The oldest known portrait of Jesus, found in Syria and dated to about 235, shows him as a beardless young man of authoritative and dignified bearing. He is depicted with close-cropped hair and wearing a tunic and pallium—the common male dress for much of Greco-Roman society, and similar to that found in the figure art in the Dura-Europos Synagogue.[23]

The appearance of Jesus had some theological implications. While some Christians thought Jesus should have the beautiful appearance of a young classical hero,

Psalm 45:3: "Gird thy sword upon thy thigh, mighty one, with thy beauty and fairness"[27] Later the emphasis of leading Christian thinkers changed; Jerome (d. 420) and Augustine of Hippo
(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."

Bearded Jesus between Peter and Paul, Catacombs of Marcellinus and Peter, Rome. Second half of the 4th century. Such works "first present us with the fully formed image of Christ in Majesty that will so dominate Byzantine art".[28] For detail of Christ, see this file.
Christ Pantocrator in a Roman mosaic in the church of Santa Pudenziana, Rome, c. 400–410 AD during the Western Roman Empire

From the 3rd century onwards, the first narrative scenes 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,[31] usually showing Christ as youthful, beardless and with short hair that does not reach his shoulders, although there is considerable variation.[32]

The oldest surviving panel icon of Christ Pantocrator, encaustic on panel
, c. 6th century, showing the appearance of Jesus that is still immediately recognised today.

Jesus is sometimes shown performing miracles by means of a wand,

change water to wine, multiply the bread and fishes, and raise Lazarus.[34] 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.[35][36] No art has been found picturing Jesus with a wand before the 2nd century. Some scholars suggest that the Gospel of Mark, the Secret Gospel of Mark and the Gospel of John (the so-called Signs Gospel), portray such a wonder worker, user of magic, a magician or a Divine man.[37] Only the Apostle Peter is also depicted in ancient art with a wand.[36] Research by Lee M. Jefferson however, argued that the depiction of Jesus holding a wand is not an attempt to portray Jesus as a magician or magic user, but rather a continuity of biblical tradition of Moses's staff. It is also argued that early Christians were strong in their rejection of magic and anything related to it.[38]

Another depiction, seen from the late 3rd century or early 4th century onwards, showed Jesus with a beard, and within a few decades can be very close to the conventional type that later emerged.

Dio of Prusa and Apollonius of Tyana, some of whom were claimed to perform miracles.[43]

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.

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.[45] From the 3rd century on, some Christian leaders, such as Clement of Alexandria, had recommended the wearing of beards by Christian men.[46]
The centre parting was also seen from early on, and was also associated with long-haired philosophers.

Christ as Emperor, wearing military dress, and crushing the serpent representing Satan. "I am the way and the truth and the life" (John 14:6) reads the inscription. Ravenna, after 500

After Constantine

From the middle of the 4th century, after Christianity was legalized by the

Pantocrator ("Ruler of all") from God the Father (still not portrayed in art) to Christ, which was a development of the same period, perhaps led by Athanasius of Alexandria (d. 373).[48]

Another depiction drew from classical images of philosophers, often shown as a youthful "intellectual

Passion, after which he is shown with a beard.[50]

The Good Shepherd, now clearly identified as Christ, with halo and often rich robes, is still depicted, as on 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 Middle Ages the beard became almost universal and when Michelangelo showed a clean-shaven Apollo-like Christ in his Last Judgment fresco in the Sistine Chapel (1534–41) he came under persistent attack in the Counter-Reformation climate of Rome for this, as well as other things.[51]

French scholar Paul Vignon has listed fifteen similarities, or "marks," between most of the icons of Jesus after this point, particularly in the icons of "Christ Pantocrator" ("The all-powerful Messiah").

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.[54]

As to the historical appearance of Jesus, in one possible translation of the apostle Paul's

Pelagius (c. AD 354 – c. 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."[56] Some[who?] have speculated that Jesus and/or Paul were Nazirites, a temporary vow during which hair is not cut.[citation needed] Critics[who?] emphasize that at the time, long hair on men was considered shameful as Paul states in I Corinthians 11:14. Jesus was a practicing Jew so presumably had a beard.[citation needed
]

Later periods

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 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.[58]

Partly to aid recognition of the scenes, narrative depictions of the

cruciform halo was worn only by Jesus (and the other persons of the Trinity), while plain halos distinguished Mary, the Apostles and other saints, helping the viewer to read increasingly populated scenes.[59]

The period of

realism, 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 spiritual meaning.[61]

The 13th century witnessed a turning point in the portrayal of the powerful

Franciscans began to emphasize the humility of Jesus both at his birth and his death via the nativity scene as well as the crucifixion.[62][63][64] 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.[62][64][65][66]

Christ Carrying the Cross, 1580, by El Greco, whose art reflects both his roots in Greek Orthodox traditions and the Catholic Counter-Reformation

After

Last Supper, arguably the first High Renaissance painting.[67][68] Images of Jesus now drew on classical sculpture, 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 High Renaissance was contemporary with the start of the

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.

During the 17th century, some writers, such as

Nazarite and therefore could not cut his hair, Browne argues "that our Saviour was a Nazarite after this kind, we have no reason to determine; for he drank Wine, and was therefore called by the Pharisees, a Wine-bibber; he approached also the dead, as when he raised from death Lazarus, and the daughter of Jairus.”[69]

By the end of the 19th century, new reports of miraculous images of Jesus had appeared and continue to receive significant attention, e.g. Secondo Pia'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.[70][71][72] Another 20th-century depiction of Jesus, namely the Divine Mercy image based on Faustina Kowalska's reported vision has over 100 million followers.[73][74] The first cinematic portrayal of Jesus was in the 1897 film La Passion du Christ produced in Paris, which lasted 5 minutes.[75][76] Thereafter cinematic portrayals have continued to show Jesus with a beard in the standard western depiction that resembles traditional images.[77]

A scene from the documentary film Super Size Me showed American children being unable to identify a common depiction of Jesus, despite recognizing other figures like George Washington and Ronald McDonald.[78]

Conventional depictions

Conventional depictions of Christ developed in medieval art 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:

Devotional images include:

Range of depictions

See also: God the Father in Western art
An 18th-century Ethiopian image of Jesus

Certain local traditions have maintained different depictions, sometimes reflecting local racial characteristics, as do the Catholic and Orthodox depictions. The

race of Jesus
as that of the local population (see Chinese picture in the gallery below).

In modern times such variation has become more common, but images following the 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

Virgin Mary, after the vision reported by Bridget of Sweden
, 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 Jewish hat.[79]

The CGI model created in 2001 depicted Jesus' skin color as being darker and more olive-colored than his traditional depictions in Western art.

In 2001, the television series Son of God used one of three first-century Jewish skulls from a leading department of forensic science in Israel to depict Jesus in a new way.[80] A face was constructed using forensic anthropology by Richard Neave, a retired medical artist from the Unit of Art in Medicine at the University of Manchester.[81] 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.[82] Additional information about Jesus' skin color and hair was provided by Mark Goodacre, a New Testament scholar and professor at Duke University.[82]

Using third-century images from a synagogue—the earliest pictures of Jewish people[83]—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.[84] Although entirely speculative as the face of Jesus,[81] the result of the study determined that Jesus' skin would have been more olive-colored than white or black,[82] and that he would have looked like a typical Galilean Semite. Among the points made was that the Bible records that Jesus's disciple Judas had to point him out to those arresting him in Gethsemane. 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.[84]

Miraculous images of Jesus

Main articles: Acheiropoieta, Divine Mercy image, and Head of Christ
Secondo Pia's negative of his 1898 photo of the Shroud of Turin. Many Christians believe this image to be the Holy Face of Jesus.

There are, however, some images which have been claimed to realistically show how Jesus looked. One early tradition, recorded by

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 Luke the Evangelist
.

A currently familiar depiction is that on the

Catholic devotions approved by the Holy See, that to the Holy Face of Jesus, 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.[87][88] 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.[88]

Before 1898, devotion to the

Maria Pierina De Micheli who associated the image from the Shroud of Turin with the devotion in 1936 in Milan
Italy.

Novgorodian
icon from c. 1100 based on a Byzantine model

A very popular 20th-century depiction among Roman Catholics and Anglicans is the

John Paul II in April 2000.[90] The Divine Mercy depiction is formally used in celebrations of Divine Mercy Sunday and is venerated by over 100 million Catholics who follow the devotion.[74] The image is not part of Acheiropoieta 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.[90]

Faustina wrote in her diary that Jesus appeared to her and asked her to "Paint an image according to the pattern you see".

Adolf Hyla being among the most reproduced.[93]

The Head of Christ 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."[94] The Head of Christ is venerated in the Coptic Orthodox Church,[95] after twelve-year-old Isaac 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".[96]

With episcopal approval from Bishop Tadros of Port Said and Bishop Yuhanna of Cairo, "Sallman's Head of Christ was exhibited in the Coptic Church", with "more than fifty thousand people" visiting the church to see it.[96] 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.[97] As an extraordinarily successful work of Christian popular devotional art,[98] it had been reproduced over half a billion times worldwide by the end of the 20th century.[99]

Examples

Sculpture

Main article: List of statues of Jesus

See also

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. ^ Kitzinger, Ernst, "The Cult of Images in the Age before Iconoclasm", Dumbarton Oaks Papers, Vol. 8, (1954), pp. 83–150, Dumbarton Oaks, Trustees for Harvard University, JSTOR
  4. ISSN 0043-4388
    . Retrieved 2 March 2022.
  5. ^ Lisa Maurice, Screening Divinity, Edinburgh University Press, Scotland, 2019, p. 30
  6. ^ Robin M. Jensen, The Cross: History, Art, and Controversy, Harvard University Press, USA, 2017, p. 185
  7. ^ Cameron J. Anderson, The Faithful Artist: A Vision for Evangelicalism and the Arts, InterVarsity Press, USA, 2016, p. 124
  8. ^ Doug Jones, Sound of Worship, Taylor & Francis, Abingdon-on-Thames, 2013, p. 90
  9. ^ Matthew 14:46
  10. ^ Luke 8:43–44
  11. ISBN 978-0-567-67150-9
    .
  12. ^ Harold W. Attridge, Gohei Hata, et al. Eusebius, Christianity, and Judaism. Wayne, MI: Wayne State University Press, 1992. pp. 283–284.
  13. ISBN 978-1-4725-2365-5
    .
  14. ^ English translation found at Catholic University of America, accessed 5 September 2012 [1]
  15. ^ John Calvin Institutes of the Christian Religion Book 1, Chapter V. Section 6.
  16. ^ Hellemo, pp. 3–6, and Cartlidge and Elliott, 61 (Eusebius quotation) and passim. Clement approved the use of symbolic pictograms.
  17. ^ The Second Church: Popular Christianity A.D. 200–400 by Ramsay MacMullen, The Society of Biblical Literature, 2009
  18. ISBN 978-0-312-66691-0
    . Retrieved 5 August 2013.
  19. ^ Orpheus as a symbol for David was already found in hellenized Jewish art. Hall, 66
  20. ^ Syndicus, 21–3
  21. ^ 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
  22. ^ Hall, 70–71
  23. ISBN 978-1-350-92807-7
    .
  24. ^ Zanker, 299
  25. ISBN 0-600-34290-5
  26. ^ Syndicus, 92
  27. ^ Cartlidge and Elliott, 53 – this is Psalm 44 in the Latin Vulgate; English bible translations prefer "glory" and "majesty"
  28. ^ Zanker, 302.
  29. Lucina in the Catacombs_of_San_Callisto
    . There are a number of other 3rd-century images.
  30. ^ 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
  31. ^ Syndicus, 94–95
  32. ^ Syndicus, 92–93, Catacomb images
  33. ^ "Catholic Encyclopedia: Portraits of the Apostles". Retrieved 10 August 2008.
  34. ^ Cartlidge and Elliott, 60
  35. ^ The Two Faces of Jesus by Robin M. Jensen, Bible Review, 17.8, Oct 2002
  36. ^ a b New Catholic Encyclopedia: Portraits of the Apostles
  37. ^ Jesus, the Magician by Morton Smith, Harper & Row, 1978
  38. ^ Jefferson, Lee M. (2020). "Jesus the Magician? Why Jesus holds a wand in early Christian art". Biblical Archaeology Society Library. Retrieved 25 February 2024.
  39. ^ Zanker, 302
  40. ^ Zanker, 300–303, who is rather dismissive of other origins for the type
  41. ^ Syndicus, 93
  42. ^ Cartlidge and Elliott, 56–57. St Paul often has a long beard, but short hair, as in the catacomb fresco illustrated. St John the Baptist 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.
  43. ^ Zanker, 257–266 on the charismatics; 299–306 on the type used for Christ
  44. ^ Zanker, pp. 299, note 48, and 300. [2]. See also Cartlidge and Elliott, 55–61.
  45. ^ Grabar, 119
  46. ^ Zanker, 290
  47. ^ Syndicus, 92–97, though images of Christ the King are found in the previous century also – Hellemo, 6
  48. ^ Hellemo, 7–14, citing K. Berger in particular.
  49. ^ Zanker, 299. Zanker has a full account of the development of the image of Christ at pp. 289–307.
  50. ^ The two parts of the cycle are on opposite walls of the nave; Talbot Rice, 157. Bridgeman Library Archived 11 March 2012 at the Wayback Machine
  51. ISBN 0198810504
  52. ISBN 1-885395-96-5
    )
  53. ^ The Shroud of Christ ("Constantinople") by Paul Vignon, Paul Tice, op. cit.
  54. ^ Grigg, 5–7
  55. ^ Regarding the alternate NIV translation of 1 Corinthians 11:7, 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., The Bible Knowledge Commentary: New Testament, "1 Corinthians 11:4", (Wheaton: Victor Books, 1983)
  56. ISBN 0-8308-2492-8. Google Books
  57. ^
    ISBN 0-8264-8011-X
    pp. 51–53
  58. ISBN 978-1-4443-5175-0
    .
  59. ^
    ISBN 0-85331-270-2
    pp. 181–184
  60. ISBN 1-879038-15-3
    pp. 226–227
  61. ISBN 978-0-88141-026-6
    pp. 81–90
  62. ^
    ISBN 0-521-78291-0
    pp. 183–184
  63. ISBN 0-8146-3184-3
    pp. 86–87
  64. ^
    ISBN 0-8369-2378-2
    pp. 110–112
  65. ISBN 0-7425-5157-1
    pp. 3–5
  66. ISBN 0-7614-1475-4
    p. 109
  67. ISBN 978-0-534-64114-6
    pp. 382–383
  68. ^ Leonardo da Vinci, the Last Supper: a Cosmic Drama and an Act of Redemption by Michael Ladwein 2006 pp. 27, 60
  69. ^ Browne, Thomas. The Works of Thomas Browne Vol. 2. Gutenberg.
  70. ISBN 0-7661-3425-3
    pp. 2–9
  71. ^ William Meacham, The Authentication of the Turin Shroud:An Issue in Archaeological Epistemology, Current Anthropology, Volume 24, No 3, June 1983
  72. ^ "Zenit, May 5, 2010". Zenit.org. 5 May 2010. Archived from the original on 27 September 2012. Retrieved 4 November 2011.
  73. ISBN 978-0-87973-923-2
    p. 165
  74. ^
    ISBN 978-1-58617-257-2
    p. 548
  75. ISBN 90-04-16861-3
    p. 1
  76. ISBN 0-415-23440-9
    p. 518
  77. ISBN 1-4051-9362-X
    p. 526
  78. ^ ""Super Size Me": Recognizing Jesus". Archived from the original on 5 July 2022. Retrieved 13 August 2020.
  79. ^ A 12th-century English example is in the Getty Museum Archived 7 June 2010 at the Wayback Machine
  80. OCLC 60623878
    . Retrieved 12 May 2011.
  81. ^ a b Legon, Jeordan (25 December 2002). "From science and computers, a new face of Jesus". CNN. Retrieved 12 May 2011.
  82. ^ a b c Wilson, Giles (27 October 2004). "So what color was Jesus?". BBC News. London. Retrieved 12 May 2011.
  83. ^ "Experts Reconstruct Face Of Jesus". London: CBS. 27 March 2001. Retrieved 12 May 2011.
  84. ^ William Meacham, The Authentication of the Turin Shroud: An Issue in Archaeological Epistemology, Current Anthropology, Volume 24, No 3, June 1983
  85. ^ 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 clergy representing the Assemblies of God, 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. {{cite web}}: Missing or empty |url= (help)
  86. ISBN 0-87973-701-8
    p. 49
  87. ^
    ISBN 0-87973-910-X
    pp. 239, 635
  88. ISBN 978-1-59884-654-6
    .
  89. ^
    ISBN 978-1-4033-1009-5
    pp. 85–95
  90. ^
    ISBN 1-4502-3236-1
    "The Image of Divine Mercy" pp. 84–107
  91. ISBN 978-0-87973-923-2
    pp. 63–64
  92. ISBN 978-0-86012-383-5
    p. 252
  93. 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."
  94. 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 bishops, Anbâ Tadros of Port Said and Anbâ Yuhanna of Cairo verified the story.
  95. ^
    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.
  96. 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.
  97. 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.
  98. 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.
  99. ^ "Construction progressing on new Jesus statue along I-75". WCPO. 15 June 2012. Archived from the original on 29 June 2013. Retrieved 7 September 2012.

References

External links

Wikimedia Commons has media related to Iconography of Jesus Christ.
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