Iconographically, its rhino invokes an elegiac sense of pathos akin to that of polar-bear-on-ice-floe imagery, the latter of which is pervasive to the point of cliché in environmental advocacy.
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As the Southern Poverty Law Center (SPLC) first documented in a guide to the use of hate symbols and flags following the Charlottesville "Unite the Right" rally in August of 2017, SPQR is often iconographically synthesized with the use of the fasces — a bundle of sticks symbolic of Roman magisterial power that was also reused by Mussolini — and the Roman military eagle as a symbol of Western white male supremacy.
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Iconographically related are five gold bracteates found in Hüfingen, Bavaria.
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Iconographically, Itzamna can be considered an aged form of the tonsured maize god. Both deities are often shown together.
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This does, however, argue that America was perhaps iconographically the most antithetical continent to Europe in most sets of the continents personified. Giovanni Battista Tiepolo, fresco in the Würzburg Residenz, 1750s. America sits on a huge alligator.
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The other character in the series is the Anacleto's boss. He is fat, completely bald and wears glasses. To mark the difference in status iconographically he smokes thick cigars. A recurring villain of the series is the author himself, Manuel Vázquez.
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These animal designs are also iconographically meaningful as the images of the various animals that served as the helpers of shamans and shamanesses (who were believed to have mythical powers) in the tasks of Heaven-Earth, and with the dead-living communication.
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Portrait of Eleanor of Aragon is a marble sculpture of Eleanor of Aragon, originally carved by Francesco Laurana in 1468 for her tomb but now in the Palazzo Abatellis in Palermo. It is very iconographically similar to Bust of a Princess (Louvre).
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Two were destined for a chapel in Karori, New Zealand, and his most iconographically complex window, St Victor,Caron, David. "Michael Healy's Stained Glass Window of St Victor", The Irish Arts Review Yearbook, 1993, Vol. 9, pp.187 – 191 was also executed during this period.
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333x333px As Bucknell et al. (1986, p. 15.) say, the complete Avalokiteshvara Mantra includes a final hrīḥ (, ), which is iconographically depicted in the central space of the syllabic mandala as seen in the ceiling decoration of the Potala Palace.Bucknell, Roderick & Stuart- Fox, Martin (1986).
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Iconographically, the scene represents the Holy Trinity as the Throne of Grace ("Gnadenstuhl"). The missing dove, a symbol of the Holy Spirit, was presumably fixed to the altar above the sculpture. The edge of the pedestal and the pillars are decorated with a frieze composed of small arches.
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Iconographically, Machig Labdrön is depicted holding a large drum (Skt. damaru), a specific ritual item in the practice of Chod, in her right hand and a bell (Skt. ghaṇṭa) () in her left. Her right leg is often lifted and the standing left leg is bent in motion, in a dancing posture.
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Storia e restauri, 2 voll., Poligrafico dello Stato, Roma 2009, II, pp. 489-507 Mazzoni created a harmonious and iconographically coherent ensemble of delicate stuccos, frescos and paintings with the classicising statue of Saint Catherine in the focus of the space. He was probably related to the sculptor Guido Mazzoni.
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Vāhana or vehicle, sometimes called a mount, is an animal or mythical entity closely associated with a particular deity in Hindu theology. Sometimes the deity is iconographically depicted riding and/or mounted on the vahana; other times, the vahana is depicted at the deity's side or symbolically represented as a divine attribute.
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It is written in Latin and French on quarto vellum and is bound in dark brown leather. The writing is uncial Gothic. The ornaments are geometrical and floral in blue, red, green, and gold. It has an iconographically unusual illustration depicting the Flight into Egypt with the Virgin Mary leading Joseph on a donkey.
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Though it is a Sanskrit name, it is a Tamil concept and Somaskandas are not found in North Indian temples.Ghose 1996, p. 3 In the Tiruvarur Thygarajar Temple, the principal deity is Somaskanda under the name of Thyagaraja. All temples in the Thygaraja cult have images of Somaskandar as Thyagarajar - though iconographically similar, they are iconologically different.
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It is a pidha temple followed by a flat roofed open mandapa. The presiding deity of the temple is an eight-armed Chamunda image and iconographically it can be dated to the 10th–11th centuries A.D. The temple is a modern one but it houses a few important specimen of Buddhist and Saviate sculptures, datable to the same centuries.
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Though it is a Sanskrit name, it is a Tamil concept and Somaskandas are not found in North Indian temples.Ghose 1996, p. 3 In the Tiruvarur Thygarajar Temple, the principal deity is Somaskanda under the name of Thyagaraja. All temples in the Thygaraja cult have images of Somaskandar as Thyagarajar - though iconographically similar, they are iconologically different.
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These two qualities are represented iconographically by the victory banner and the ritual knife. The banner symbolizes overcoming obstacles and the knife symbolizes cutting through the ego. The practitioner may cultivate imaginary fearful or painful situations since they help the practitioner's work of cutting through attachment to the self. Machig Labdrön said, "To consider adversity as a friend is the instruction of Chöd".
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I think linguistically and > iconographically we will tend to mix the two. I have to my benefit that I > can combine English and Spanish to give a more colorful expression than I > would if I said it all in English or all in Spanish. The subtlety of the > meanings, the syntax, or the pronunciation of the words give it something > that is missing.
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That angel is thought to be a representation of the archangel Michael whose slaying of Lucifer prefigured Mary's role as an instrument of salvation. The angel is present in an oil sketch executed around the same time, now in the National Gallery of Ireland, considered iconographically the most complex of Tiepolo's depictions of the Immaculate Conception. Note the triangular halo signifying the Trinity.
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In the Chera (Kerala) and Tamil tradition, Kannagi has been deified as the symbol – sometimes as goddess – of chastity, with sculptures or reliefs in Hindu temples iconographically reminding the visitor of her breaking her anklet or tearing her bleeding breast and throwing it at the city. Kannagi in Tamil Nadu. The earliest Tamil epic Silapathikaram features her as the central character.
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Iconographically they derive from the scheme of the statue of Fabrizio Pignatelli by Michelangelo Naccherino. The movement and whirling of the cloths is a clear step forward in the development of the Baroque language, until then not known to the Neapolitan public. Beneath the sculptures are busts of Francesco De Caro and Giovan Camillo Cacace. The latter is renowned for its vivid portrayal of the client.
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Coinage struck by Antiochus IV Epiphanes can be considered to be iconographically innovative when compared to other Seleucid rulers. He is associated with various celestial attributes and symbols such as stars and rays about his head. Both Antiochus IV and Seleucus IV Philopator struck coins with the solar deity Helios. Another deity closely associated with reign of these two rulers and brothers is Apollo.
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Little is known with certainty concerning the Classic Maya priesthood. Iconographically, there can be no serious doubt but that the aged, ascetic figures depicted as writing and reading books, aspersing and inaugurating dignitaries and kings, and overseeing human sacrifice, represent professional priests and high priests at court. Certain hieroglyphic titles of noblemen have been interpreted as priestly ones (e.g., ajk'uhuun, possibly 'worshipper', yajaw k'ahk 'master of fire').
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During the later reign of Basil II (r. 976–1025), the tetarteron began to be minted in a thicker and smaller form, while the histamenon conversely became thinner and wider. Only during the sole rule of Constantine VIII (r. 1025–1028), however, did the two coins become iconographically distinct as well... By the mid-11th century, the tetarteron measured 18 mm wide and its weight apparently standardized at 3.98 grams, i.e.
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Kankalamurti depicted in a painting, 1842. Kankalamurti is one of the three most popular aspects of Bhairava; the others being Brahmashiraschedaka-murti and Bhikshatana-murti.von Stietencron p. 105 Shiva – as the terrifying Bhairava – cuts the fifth head of the creator-god Brahma (an act iconographically depicted as Brahmashiraschedaka-murti) and that head/skull stuck as kapala (skull-cup) to Bhairava's left palm due to the sin of beheading Brahma.
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Another of the very few major Eastern works showing the Virgin from before the Byzantine iconoclasm, an apse mosaic (lost in 1922) from Nicaea, also shows the hand above a standing Virgin. Few similar uses of the hand are seen in later Virgins, though the iconographically adventurous Byzantine Chludov Psalter (9th century) has a small miniature showing the hand and dove above a Virgin & Child.Schiller, I, p. 7 & fig.
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Writing in the Washington Post, Ann Hornaday called it "a riveting example of pure filmic storytelling. ... 'Winter Soldier' is an important historical document, an eerily prescient antiwar plea and a dazzling example of filmmaking at its most iconographically potent. But at its best, it is the eloquent, unforgettable tale of profound moral reckoning."Ann Hornaday, "'Winter Soldier': Cold Days in Hell," Washington Post, December 9, 2005; p. C5.
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It is etymologically related to the Avestan 𐬁𐬚𐬭𐬀𐬎𐬎𐬀𐬥 āθrauuan / aθaurun (Vedic अथर्वन् atharvan), a type of priest. It was later copied by the Latin ater (black) and possibly a cognate of Albanian vatër, Romanian vatră and Serbo- Croatian vatra (fire). In later Zoroastrianism, ātar (Middle Persian: 𐭠𐭲𐭥𐭥𐭩 ādar or ādur) is iconographically conflated with fire itself, which in Middle Persian is 𐭠𐭲𐭧𐭱 ātaxsh, one of the primary objects of Zoroastrian symbolism.
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In Tibet the Kinnara is known as the Miamchi () or 'shang-shang' () (Sanskrit: civacivaka). This chimera is depicted either with just the head or including the whole torso of a human including the arms with the lower body as that of a winged bird. In Nyingma Mantrayana traditions of Mahayoga Buddhadharma, the shang-shang symbolizes 'enlightened activity' (Wylie: phrin las). The shang-shang is a celestial musician, and is often iconographically depicted with cymbals.
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The completed angel nearest to the Virgin is noted as being similar to a sketch of the young Michelangelo made while he was apprenticed to Domenico Ghirlandaio. In 2017, scholars discovered an extra tooth or mesiodens in the child which is a proof for the attribution to Michelangelo. Moreover, the painting is thematically and iconographically connected to a fresco by Piero della Francesca in ArezzoGiometti, Sandro (2018). "Michelangelo: Mostrare l'invisibile – displaying the invisible", ed.
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The ritual sastar puja (worship of weapons) in the Khalsa tradition for some scholars, states Singh, is akin to idol worship. In Sikh scholarship, the ritual is denied as the worship of God, rather it is defended as the worship of what the weapons iconographically represent to the Sikh: adi shakti (power of god). These verses are related to Khalsa's preparation for the war against the Mughals and "enabling the destruction of the enemy".
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Iconographically the side panels "relate to the Caravaggio paintings in that they manifest the divine cause of what passes below" them. Similarly the Coronation scene is placed above Carracci's Assumption as a direct continuation. The vault forms a celestial zone in close contact with the three famous paintings below. These relationships indicate that the artists worked in a compositional framework conceived by the patron or even more his friend and artistic adviser, Marchese Vincenzo Giustiniani.
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Bergama Carpet refers to handwoven Turkish carpets, made in the Bergama district in the Izmir Province of northwest Turkey. As a market place for the surrounding villages, the name of Bergama is used as a trade name to define the provenience. Geographically, the Bergama district includes the regions of Kozak, Yuntağ, Yağcibedir, and Akhizar. Of these, the regions of Yuntağ and Yağcibedir weave carpets which are iconographically different from the Bergama Type.
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Krämarkapellet is richly decorated with late medieval murals. Some of the paintings may have been made in the 1460s while others date from the early 1510s. They were made by an unknown master or workshop. The murals have been described as being both "iconographically sophisticated" and "technically accomplished" and in stark contrast to the naïveté typical for the many murals made in the countryside churches of the province at approximately the same time.
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Unlike many of his predecessors, Walther did not paint in an idealized or timeless manner: he was committed to reality, as some wintry cloudy city views or images of destroyed Munich show. Reality did not mean for him to paint everything exactly to the last detail. One searches in vain for clearly decipherable inscriptions, iconographically identifiable figures or nameable passers. Walther does not put the topographical accuracy into the middle, but the overall impressionistic expression of his cityscapes.
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Dumbarton Oaks, Washington D.C. The Jester God is an early symbol of Maya rulership and is usually seen iconographically in the head, or in this case the jade head. With so many artifacts associated with this tomb, it is clear that the male buried in here was of great importance.Fields, Virginia M. 1991 The Iconographic Heritage of the Maya Jester God. In Sixth Palenque Round Table, 1986, edited by Merle Greene Robertson and Virginia M. Fields.
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Anna and the Blind Tobit by Rembrandt and Dou (1630) While the traditional title Philosopher in Meditation has to a large extent been responsible for the painting's popularity, it is iconographically untenable. The painting shows none of the conspicuous attributes of scholarship or philosophy—books, globe, scientific instruments, etc.—and the presence of at least one other figure involved in domestic tasks does not fit in with the solitude associated with study and meditation.Clarke, 1980, 138-9.
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Gaulish coin from present-day Normandy featuring a wild boar trophy on the reverse; such coin issues have been linked iconographically to the boar-god of Euffigneix Moccus is a Celtic god who was identified with Mercury. He is the boar- or swine-god of the continental Celtic tribe of Lingones. Moccus was invoked as the protector of boar hunters and warriors. Boar meat was sacred among the ancient Celts, and features in accounts of feasts in Irish mythology.
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303 The iconography is quite similar to that of the Kankala-murti aspect who, like Bhikshatana, is associated with the legend of Shiva's atonement for severing Brahma's head. The chief difference is that Bhikshatana is nude and Kankala- murti is clothed. Though Shiva is often described as a naked ascetic Yogi, iconographically he is rarely portrayed as nude except in his form as Bhikshatana. Often the seductive nature of the naked Bhikshatana is emphasised in his torso and buttocks.
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The hall represents iconographically the best of medieval culture. There are seven planets, as there are seven ages of man, each under the influence of a planet. This influence of the planets is stronger in certain times of day, as man learns in each age another discipline. The provision of the planetary system does not conform to the actual position of planets in the heavens, but follows a chronological trend that relates to the day of the week.
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Although FAILE's completed works are iconographically and stylistically distinctive, their process of creation owes much to chance, improvisation, and openness to outside source material.Carlo McCormick, "Interview with FAILE," From Brooklyn With Love, (London: Lazarides, 2007), 24. This is true of both FAILE's relationship to form and content—the visual elements of their work is continuously adapted to heterogeneous materials, from grocery store sign paper to wooden boxes and painted ceramics. During the early years of their career, FAILE's primary laboratories were urban streets.
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Five churches in Rome have mosaics from this period:Santi Nereo e Achilleo (c. 814) has an iconographically eccentric programme at the east end, while Santa Prassede and Santa Cecilia in Trastevere (both c.820) and San Marco (commissioned between 828 and 848) all have semi-domes following that of Santi Cosma e Damiano (526-30 - above) with Saints Peter and Paul presenting martyrs and the donor Pope carrying a model of the church.Dodwell, 3-6; Dale, 741 Santa Maria in Domnica (c.
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Sigurd's killing of Fafnir can be iconographically identified by his killing of the dragon from below, in contrast to other depictions of warriors fighting dragons and other monsters. Surviving depictions of Sigurd are frequently found in churches or on crosses; this is likely because Sigurd's defeat of the dragon was seen as prefiguring Christ's defeat of Satan. It is also possible that he was identified with the Archangel Michael, who also defeated a dragon and played an important role in the Christianization of Scandinavia.
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Such traditions of mysticism and syncretism continued in Balkh, which was the birthplace of the medieval Persian poet Rumi, founder of the Mevlevi Sufi Order. The many Buddhist references in Persian literature of the period also provide evidence of Islamic–Buddhist cultural contact. Persian poetry often used the simile for palaces that they were "as beautiful as a Nowbahar [Nava Vihāra]." Further, at Nava Vihāra and Bamiyan, Buddha images, particularly of Maitreya, the future Buddha, had 'moon discs' or halo iconographically represented behind or around their heads.
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It was built between 1640 and 1644, originally for the financier Jean-Baptiste Lambert (d. 1644) and continued by his younger brother Nicolas Lambert, later president of the Chambre des Comptes. For Nicolas Lambert, the interiors were decorated by Charles Le Brun, François Perrier, and Eustache Le Sueur, producing one of the finest, most-innovative, and iconographically coherent examples of mid-17th- century domestic architecture and decorative painting in France. The entrance gives onto the central square courtyard, around which the hôtel was built.
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Although there are other death saints in Latin America, such as San La Muerte, Santa Muerte is the only female saint of death in either of the Americas. Though early figures of the saint were male, iconographically, Santa Muerte is a skeleton dressed in female clothes or a shroud, and carrying both a scythe and a globe. Santa Muerte is marked out as female not by her figure but by her attire and hair. The latter was introduced by a believer named Enriqueta Romero.
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This story is part of the Greek Additions to Daniel comprising chapter 14 in the Vulgate. Iconographically the statue of Habakkuk has its counterpart in the chapel in the Raphaelesque statue of Elijah which also shows a prophet saved from hunger by the angel of the Lord. Another reason why Bernini probably chose to picture this episode is that the Chigi Library contained the only known Septuagint text of the Book of Daniel from which the story was drawn, the Codex Chisianus 45.Howard Hibbard: Bernini, Penguin Books, Baltimore, 1965, pp.
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Iconographically, it corresponds to the concept of Mary as the Sedes Sapientiae—that is, the seat of wisdom—and symbolises the Church. This is why the figure of the Child appears front-on and rigid, without any sign relating Him to Mary. It is worth pointing out the softness of Mary’s facial features and of the folds of the clothing. From early twentieth-century photographs we know that this image was retouched and adapted for a new concept of the subject. The Child was moved and placed on Mary’s left knee.
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In the seal script the table has a shape. Semantically, the sign suggests relation to anything connected with animism in traditional Chinese religion, such as 祭 "to sacrifice, to practice ancestor veneration", ultimately composed of the sign for meat 肉 and the sign for a hand 手 above the altar character, as it were iconographically expressing "hand placing meat on an altar". The sign 祟 for "spirit" originally referred to misfortune caused by malevolent spirits. In 禁 (jīn ) "to forbid, restrict, restrain", the 林 (lín ) above the radical has only phonetic significance (rebus writing).
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Jona Lendering notes the similarity between her iconography and that of Nehalennia, who was worshipped in Germania Inferior, while Beck sees no significant difference between her attributes and those of the Matres and Matronae. Geographically, the areas in which Erecura and Dis Pater were worshipped appear to be in complementary distribution with those where the cult of Sucellus and Nantosuelta is attested, and Beck suggests that these cults were functionally similar although iconographically distinct.Beck (2009), p. 137. A male deity called Arecurius or Aericurus is named on an altar-stone in Northumberland, England,R.
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Carved lid of the tomb of Kʼinich Janaab Pakal I in the Temple of the Inscriptions. The large carved stone sarcophagus lid in the Temple of Inscriptions is a unique piece of Classic Maya art. Iconographically, however, it is closely related to the large wall panels of the temples of the Cross and the Foliated Cross centered on world trees. Around the edges of the lid is a band with cosmological signs, including those for sun, moon, and star, as well as the heads of six named noblemen of varying rank.
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S. Weinstock above p. 106 n. 25; E. L. Highbarger, The Gates of Dream: An archaeological examination of Vergil, Aeneid VI 893–899 (Baltimore, 1940); A. K. Coomaraswamy, The Door in the Sky (Princeton, 1997); M. Eliade Shamanism: Archaic Techniques of Ecstasis (Princeton, 2004); G. Capdeville, "Les dieux de Martianus Capella", Revue de l'histoire des religions 213/3 (1996), pp. 293–4. From other archaeological documents though it has become clear that the Etruscans had another god iconographically corresponding to Janus: Culśanś, of which there is a bronze statuette from Cortona (now at Cortona Museum).
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Bhikshatana, Gangaikonda Cholapuram Temple (1025 AD) The Kurma Purana narrates that during a particular council of rishis (sages), the god Brahma arrogantly declared that he was the Supreme Creator of the Universe. Shiva appeared at the assembly as an infinite pillar of light and challenged Brahma's statement. After deliberation, the council accepted Shiva as the true Creator, but Brahma remained obstinate. Angered by Brahma's vanity, Shiva—as the terrifying Bhairava—cut off one head of the five-headed Brahma with a mere flick of his fingernail (an act iconographically depicted as Brahmashirascheda-murti).
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In 1957 his first solo exhibition was held at the Acre Museum. Following the exhibition, Ofek was invited to exhibit in the prestigious exhibition hall of the Bezalel Academy of Art and Design. Most of his works in these year and until the early 1960s are made of gouache and tempera on paper. Iconographically, the paintings are characterised by the use of concrete images such as cows, agricultural machinery and landscapes of the country, painted using dark coloration that differs from earlier attempts to reflect the "light of the Land of Israel".
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Although the hippopotamus goddess is identified in this text as Isis, not Taweret, this phenomenon is not uncommon in later periods of Egyptian history. When assuming a protective role, powerful goddesses like Isis, Hathor, and Mut assumed the form of Taweret, effectively becoming a manifestation of this goddess. Likewise, Taweret gradually absorbed qualities of these goddesses and is commonly seen wearing the Hathoric sun disc that is iconographically associated with both Hathor and Isis. This cosmic image continues to be seen in later periods, although the tendency was to show such divine astral bodies more abstractly.
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Only during the sole rule of Constantine VIII () did the two coins become iconographically distinct as well. By the mid-11th century, the tetarteron measured 18 mm wide and its weight apparently standardized at 3.98 grams, i.e. three carats less than the histamenon or stamenon (a name first attested in 1030), which now measured 25 mm in diameter (as opposed to 20 mm for the original solidus). In addition, under Michael IV the Paphlagonian (), it began to be minted in a slightly concave (scyphate) form, possibly to increase the thin coin's strength and to make it less easily bent.
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Image of Maitreya, the largest in size (), is deified on the back wall and flanked by the images of Avalokiteshwara to its right and Manjushri to its left. An interesting aspect of the elegant drapery (dhotis) worn by the deities is the display of different themes printed in different textile patterns; Maitreya's dhoti depicts the life of Buddha, the Avlokiteshwara's dhoti shows holy places and royal palaces and Manjushri's dhoti has adepts (of 84 Mahasiddhas) printed on it. Iconographically, the deities have a single head with four arms but differently portrayed. Each deity is identified to a different Buddha.
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The text then iconographically paints god Shiva, as the one who is the companion of Uma, with three eyes, blue neck, the calm wonderful lord imbued with intelligence and bliss, the source of everything. It is this supreme lord, states the text, one must meditate on, asserts verse 7. This supreme, states Kaivalya Upanishad, is the eternal, the all-pervading, formless, unmanifest, infinite, inconceivable, one without beginning or middle or end, one which is chidananda ("consciousness-bliss"). He is, states the Upanishad, Brahman, Shiva, Indra, Vishnu, Prana (life force, breath), fire and moon (time, lunar calendar).
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A damaru, a ritual drum A kangling, a trumphet made out of a human femur In Chöd, the adept symbolically offers the flesh of their body in a form of gaṇacakra or tantric feast. Iconographically, the skin of the practitioner's body may represent surface reality or maya. It is cut from bones that represent the true reality of the mindstream. Commentators have pointed out the similarities between the Chöd ritual and the prototypical initiation of a shaman, although one writer identifies an essential difference between the two in that the shaman's initiation is involuntary whilst a Chodpa chooses to undertake the ritual death of a Chod ceremony.
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Terracotta relief of the Matres, from Bibracte, city of the Aedui in Gaul Mother goddesses are a recurrent feature in Celtic religions. The epigraphic record reveals many dedications to the Matres or Matronae, which are particularly prolific around Cologne in the Rhineland. Iconographically, Celtic mothers may appear singly or, quite often, triply; they usually hold fruit or cornucopiae or paterae; they may also be full-breasted (or many-breasted) figures nursing infants. Welsh and Irish tradition preserve a number of mother figures such as the Welsh Dôn, Rhiannon (‘great queen’) and Modron (from Matrona, ‘great mother’), and the Irish Danu, Boand, Macha and Ernmas.
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The symbol is usually shown as a fountain enclosed in a hexagonal structure capped by a rounded dome and supported by eight columns. The fountain of living waters, fons vivus"Sit fons vivus" said the priest in the traditional Roman missal when blessing the baptismal font, in the Benedictio Fontis. is a baptismal font (a water fountain in which one is baptized, and thus reborn with Christ), and is often surrounded by animals associated with Baptism such as the hart. The font probably represents the octagonal Lateran Baptistery in Rome, consecrated by Pope Sixtus III (432-440), which was iconographically associated with the fountain of the water of life mentioned in .
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H.G. Dr. Youhanon Mar Demetrios who is the Secretary of Ecumenical Relations Committee and Delegate of the W. C. C Commission of Educational and Ecumenical Formation said "All our churches are open to people of all faiths. That alone is a welcoming gesture by our church." Largest Icon in Malankara- In 2018, under the direction of Fr. Ashwin Fernandes, the main altar wall of the church was iconographically adorned with the "largest icon painting in Malankara." The icon behind the throne includes Christ in the center, to the left, His Mother, Yoldath Aloho Mariam (Theotokos), to the right, the forerunner, Mor Yuhanon Mam'domo (Saint John the Baptist).
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Sometimes he is depicted wearing the Eastern Orthodox mitre, sometimes he is bareheaded. Iconographically, Nicholas is depicted as an elderly man with a short, full, white, fluffy beard and balding head. In commemoration of the miracle attributed to him by tradition at the Council of Nicea, he is sometimes depicted with Christ over his left shoulder holding out a Gospel Book to him and the Theotokos over his right shoulder holding the omophorion. Because of his patronage of mariners, occasionally Saint Nicholas will be shown standing in a boat or rescuing drowning sailors; Medieval Chants and Polyphony, image on the cover of the Book of Hours of Duke of Berry, 1410.
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It also notes that the current kalpa is known as Varaha-kalpa due to Vishnu's form as Varaha in the beginning of the kalpa. This tale is iconographically depicted in the Lingodbhava icon of Shiva as emerging from a cosmic pillar, while Vishnu as Varaha is seen at the base going down and Brahma as a swan flying at the top. The Lingodbhava icon of the Shiva- worshipping Shaiva sect was aimed to counter the avatar theory of Vishnu that presented him as the Supreme Being. The icon elevated Shiva to the Supreme Being position and demoted Vishnu as inferior to Shiva by belittling the Varaha avatar.
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Dārēv I (Darios I) used for the first time the title of mlk (King). 2nd century BC. There are many controversies and debates about the origin, datings and sequence of the Frataraka rulers. Hill was the first to catalog and study them and he opted for the same dates as Herzfeld, namely to early 3rd BC. But Alram and historian Wiesehofer all pointed to later dating iconographically and epigraphically, and also based on the seamless continuation of their coinage from the first series to second and so on. They argued that they ruled by late 2nd century BC and ended by mid 2nd century BC after Parthia conquered Persia.
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An important Dzogchen doctrinal view on the Sugatagarbha qua 'Base' (gzhi) (refer: Duckworth, 2008) that foregrounds this is 'essence' (ngo bo), 'nature' (rang bzhin) and 'power' (thugs rje): the triune of which are indivisible and iconographically represented by the Gankyil. Where essence is openness or emptiness (ngo bo stong pa), nature is luminosity, lucidity or clarity (as in the luminous mind of the Five Pure Lights) (rang bzhin gsal ba) and power is universal compassionate energy (thugs rje kun khyab), unobstructed (ma 'gags pa)Petit, John Whitney (1999). Mipham's Beacon of Certainty: Illuminating the View of Dzochen, the Great Perfection. Boston: Wisdom Publications (1999). .
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Longchen Rabjam (author); Barron, Richard (translator, annotations) (1998). The Precious Treasury of the Way of Abiding. Padma Publishing, p.290. "Awareness" is a gloss of rigpa (Tibetan).Longchen Rabjam (author); Barron, Richard (translator, annotations) (1998). The Precious Treasury of the Way of Abiding, Padma Publishing, p.286. Though Buddhism is for the most part non-theistic, Dzogchen and other Buddhadharma traditions often personify attributes or qualities with a deity in textual discourse as Samantabhadra herein is the Adi-Buddha (to be clearly discerned from the namesake Bodhisattva) and is iconographically "attributeless" and "unadorned", the "primordial Buddha", and Samantabhadra is often so for many textual traditions of Dzogchen in both lineagues of Bonpo and Nyingmapa.Rossi, Donatella (1999).
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Iconographically, Marian figures associated with the Revelations narrative are recognizable by the astronomical attributes, specifically her standing on a crescent moon, and the crown of twelve stars (while the description "clothed with the sun" is sometimes rendered by rays emanating from her figure). Association of Mary with a single star is recorded from the early medieval period, in the hymn Ave Maris Stella. Many depictions of Mary from the Gothic period (14th to 16th century) show her standing on a crescent moon inspired by the association of Mary with the woman of the Apocalypse. The motif became so popular in 15th-century Germany that pre-existing Madonna figures were refitted with a crescent (e.g.
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In the iconographic representation of Pema Rigdzin herewith, within his right or upaya-hand he holds the stem of a lotus (Sanskrit: padma (attribute) sprouting from his heartmind chakra (Tibetan: khorlo) that functions as a dais for the Dharma, represented by a book or tomb, which in turn supports the flaming sword of prajna (Sanskrit) often seen as an attribute of Manjushri. Iconographically, flames denote 'spiritual power' in the Himalayan thangka twilight language tradition. In the sky above his head reside the Sun and Moon in balance, metonymic of the solar and lunar subtle channels of the subtle body. The Sun and Moon and clouds also form a simulacrum of the 'Face of Glory' (Sanskrit: kirtimukha).
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It is represented as half woman shown as half of Parvati in this Elephanta panel on the right side, with breast, waist, feminine hair and items such as a mirror in the upper hand. The second half-man side is Shiva with male characteristics and items iconographically his symbol. In Shaivism, the concept pictorially symbolizes the transcendence of all duality including gender, with the spiritual lacking any distinctions, where energy and power (Shakti, Parvati) is unified and is inseparable with the soul and awareness (Brahman, Shiva). In the panel, the relief shows a headdress (double-folded) with two pleats draped towards the female head (Parvati) and the right side (Shiva) depicting curled hair and a crescent.
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Canaanite religion was influenced by its peripheral position, intermediary between Egypt and Mesopotamia, whose religions had a growing impact upon Canaanite religion. For example, during the Hyksos period, when chariot-mounted maryannu ruled in Egypt, at their capital city of Avaris, Baal became associated with the Egyptian god Set, and was considered identical – particularly with Set in his form as Sutekh. Iconographically henceforth, Baal was shown wearing the crown of Lower Egypt and shown in the Egyptian-like stance, one foot set before the other. Similarly Athirat (known by her later Hebrew name Asherah), Athtart (known by her later Greek name Astarte), and Anat henceforth were portrayed wearing Hathor-like Egyptian wigs.
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It is difficult to ascertain to what extent Metzinger was influenced, moved, provoked or inspired by the works of Maeterlinck, Tchaikovsky, Stravinsky or d'Aulnoy. What does emerge is the closer iconographic detail visible in Metzinger's painting with the original version of L'Oiseau bleu (the first version, that also happens to be French, of 1697) by Madame d'Aulnoy. In fact, it is the only version of L'Oiseau bleu that appears to be mirrored iconographically in Metzinger's painting. The fact that the difficulty even exists attests to the diversity of Metzinger's interest in widely disparate subjects, widely faceted interests and sensitivities, ranging from women to fashion, from literature to science, in passing through mathematics, geometry, physics, metaphysics, philosophy, nature, classical music, opera, dance, theater, cafés, travel and poetry.
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Historical accounts report it as flourishing as an important centre of Buddhism between the seventh and eleventh centuries CE. It may have been founded considerably earlier, perhaps in or after the reign of Kaniṣka, in the second century CE.Historical reports referring to the monastery span from Xuanzang to Al Biruni.History of Buddhism in Afghanistan, Last accessed 15 July 2016 The many Buddhist references in the Persian literature of the period also provide evidence of Islamic–Buddhist cultural contact. Persian poetry, for example, often used the simile for palaces that they were "as beautiful as a Nowbahar (Nava Vihāra)." Further, at Nava Vihāra and Bamiyan, Buddha images, particularly of Maitreya, the future Buddha, had 'moon discs' or halo iconographically represented behind or around their heads.
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The Maya death gods, (also Ah puch, Ah Cimih, Ah Cizin, Hun Ahau, Kimi, or Yum Kimil) known by a variety of names, are two basic types of death gods who are respectively represented by the 16th-century Yucatec deities Hunhau and Uacmitun Ahau mentioned by Spanish Bishop Landa. Hunhau is the lord of the Underworld. Iconographically, Hunhau and Uacmitun Ahau correspond to the Gods A and A'. In recent narratives, particularly in the oral tradition of the Lacandon people, there is only one death god (called "Kisin" in Lacandon), who acts as the antipode of the Upper God in the creation of the world and of the human body and soul. This death god inhabits an Underworld that is also the world of the dead.
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Hospitals were an exception (37% used a staff of Asclepius whereas 63% used a caduceus). Friedlander felt it likely that this might reflect the fact that "professional medical organizations have more often sought a real understanding of the meaning of the two symbols whereas commercial organizations have been less interested in the historical basis of their logo or insignia and more concerned with how well a certain symbol will be recognized by the iconographically unsophisticated audience they are trying to attract to their wares." The use of the caduceus in a medical context has long been frowned upon by many professionals, academics and others who are familiar with the historical significance of both symbols. This has occasioned impassioned remarks by those frustrated with the continuing confusion.
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Since there are very few surviving remains from medieval times, information on the shape of the Carroccio is fragmentary. Alessandro Visconti, in a book from 1945, referring to the chronicler Arnulf of Milan, reports this description: It is possible to imagine the size of the Carroccio banner taking as a reference the banner of the bishop of the city of Würzburg, used in 1266 during the battle of Kitzingen and kept at the Mainfrankisches Museum. The banner is three meters by five with the image of Saint Kilian. Two depictions of the Carroccio in the Middle Ages reached the 21st century iconographically: the first is present in the Montauri Chronicles of Siena, and the second in the Chronicle of Giovanni Villani.
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"Hittite-Hurrian mythology": "...the goddess of Çatalhöyük, her Anatolian descendants were the great Phrygian goddess Cybele, the mother of the sacrificed Attis, and the many-breasted Artemis of Ephesus." in the process of giving birth while seated on her throne, which has two hand rests in the form of feline (lioness, leopard, or panther) heads in a Mistress of Animals motif. The statuette, one of several iconographically similar ones found at the site, is associated to other corpulent prehistoric goddess figures,Noted in Honour and Fleming 2005 "Ch.1: Before History" of which the most famous is the Venus of Willendorf. It is a neolithic sculpture shaped by an unknown artist, and was completed in approximately 6000 BC. It was unearthed by archaeologist James Mellaart in 1961 at Çatalhöyük, Turkey.
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Rice also argues for an astronomical interpretation of the slaying of the Bull, noting that the constellation Canis Major was sometimes iconographically represented in ancient Egyptian texts as a bull's thigh, though he notes that there is no evidence of this identification in Sumer. He also observes that thigh was often used in ancient Near Eastern texts as a substitute for the genitals. Gordon and Rendsburg note that the notion of flinging a bull's leg at someone "as a terrible insult" is attested across a wide geographic area of the ancient Near East and that it recurs in the Odyssey, an ancient Greek epic poem. Some scholars consider the Bull of Heaven to be the same figure as Gugalanna, the husband of Ereshkigal mentioned by Inanna in Inanna's Descent into the Underworld.
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Minne di Sant'Agata, a typical Sicilian sweet shaped as a breast, representing the cut breasts of Saint Agatha Saint Agatha is often depicted iconographically carrying her excised breasts on a platter, as in Bernardino Luini's Saint Agatha (1510–1515) in the Galleria Borghese, Rome, in which Agatha contemplates the breasts on a standing salver held in her hand. The tradition of Agatha Buns, Agatha bread, or so-called St Agatha's Breasts or Minne di Sant'Agata (Italian/Sicilian for Breasts of St. Agatha) or Minni di Virgini (Italian/Sicilian for Breasts of (a) virgin), served or blessed on her feast day, is found in many countries. The small round fruit buns are iced and topped with a cherry, intended to represent breasts.Illustration and details at Good Food Stories website.
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They are also the reason that Khalidor didn't invade Cenaria straight away, the Sa'Kage controlled everything and the royalty controlled next to nothing, Khalidor wanted to control the Sa'Kage to allow them to take Cenaria in a single attack. The word "Kagé" means the Shadow. Sa'kagé means Lords of the Shadow. Originally part of an oath Acaelus Thorne gave to Jorsin Alkestes, who claimed that the oath was as old as the Night Angels themselves, the term Sa'Kage has been stolen by the criminals who run Cenaria and are in every other country (apparently except for Ymmur although it has not been mentioned) in a bid to tell people that they were the lords of the night and not the night angels Shinga The Shinga is the head of the Sa'kagé, and is iconographically represented by a nine pointed star.
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The visual imagery of the 1902 designs, replete with suggestions of architectural features such as caryatids, friezes, plinths, marble columns etc. (many of them iconographically suited to the persons portrayed), was paralleled by an equally eclectic approach to typography, several different fonts being employed for letters and numerals, and several different styles of curvature being applied to some text. One notable feature of the designs is the tendency of pictorial details to protrude into left and right borders of the stamps: the arms, knees or robes of allegorical statues, the tops of flagstaffs, the beaks of eagles, the shields enclosing the numerals--even a sailor's grappling hook and a marine's musket. All fourteen original designs were the work of Raymond Ostrander Smith, whose designs for the Pan-American series and the Trans-Mississippi Issue had won much acclaim.
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The upper cover (not illustrated here, see note for image) is very lavishly studded with large gems, and uses low repoussé relief.Zoomable image from the Morgan Library The composition also centres on a cross, but here a whole Crucifixion scene with a figure of Jesus on the cross and much smaller ones of the Virgin Mary and John the Evangelist. Each of these is in a compartment below the arms of the cross, paired with iconographically unusual female figures; the matching compartments above the arms each contain two angels. Identifications for these lower figures vary; they are described by the Morgan Library as anonymous mourners, "two dishevelled female figures thought to be personifications of Christian souls saluting their Redeemer" as their file note puts itMorgan notes, 3 quoted; Schiller, II, 108 agrees but Peter Lasko, calls them instead "the curiously duplicated figure of St Mary Magdalen (?)"Lasko, 66 To Needham they are Mary Magdalene and Mary Cleophas.
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This explanation would account for the absence of the allies and the ship, as these post-date the original practice of the sacrificial rite. In evidence she offers E35 as the future King Erichthonios presenting the first peplos to his predecessor Kekrops, iconographically similar to the boy’s depiction on a fragmentary kylix of the 450s.Acropolis 396 A recent interpretation by Joan Breton Connelly identifies the central scene on the east frieze (hence above the door to the cella and focal point of the procession) not as the handing over of Athena’s peplos by the arrhephoroi, but the donning of sacrificial garb by the daughter of King Erechtheus in preparation for the sacrifice of her life.Connelly, 1993, pp.58–80 An interpretation suggested by the text of the fragmentary papyrus remains of Euripides’s Erichtheus,Fragments are preserved in Lycurgus Against Leocrates, 101 and on papyrus Sorbonne 2328 wherein her life is demanded in order to save the city from Eumolpos and the Eleusinians.
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Georges St. Clair (Creation Records, 1898) noted that Neith is represented at times as a cow goddess with a line of stars across her back (as opposed to Nut's representations with stars across the belly) [See el-Sayed, II, Doc. 644], and maintained this indicated the ancient goddess represents the full ecliptic circle around the sky (above and below), and is seen iconographically in texts as both the regular and the inverted determinative for the heavenly vault, indicating the cosmos below the horizon. St. Clair maintained it was this realm Neith personified, for she is the complete sky which surrounds the upper (Nut) and lower (Nunet?) sky, and which exists beyond the horizon, and thereby beyond the skies themselves. Neith, then, is that portion of the cosmos which is not seen, and in which the sun is reborn daily, below the horizon (which may reflect the statement assigned to Neith as "I come at dawn and at sunset daily").
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They showed how a "shadow analysis" of the unusual lines in God's neck correspond to specific spaces around the brainstem known as the "arachnoid cisterns," which were described in detail much later in 1875 but which Michelangelo inadvertently depicted in God's neck since he was able to render images with almost photographic accuracy. They concluded that "being a painter of genius, a master anatomist, and a deeply religious man, Michelangelo cleverly enhanced his depiction of God in the iconographically critical panels on the Sistine Chapel vault with concealed images of the brain and in this way celebrated not only the glory of God, but also that of His most magnificent creation." Meshberger wrote that Michelangelo concealed an image of the brain in the shroud surrounding God in the Creation of Adam. Of note is that in an article published in the Journal of the American Medical Association in October 1990, Frank Meshberger, an obstetrician-gynecologist from Indiana, explained that Michelangelo similarly concealed an image of the brain in the shroud surrounding God in the Creation of Adam. Pdf.
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