Icon

or legendary subject (Iconography). Icons are used in all religions to represent and commemorate religious figures and symbols that are held with great honor within the religion. Icons are used to represent some sacred personage, such as a saint or an angel or Christ (The Definition of Icons). Icons are typically written on wood and honored as sacred (Goldammer). Not only is the writing itself seen as sacred but the whole practice of creating these icons is a religious event. There are three

(Vladimir Virgin) is a medieval Byzantine icon. This icon is dated from the late 11th century and the early 12thcentury. This work is about a virgin and child, the Virgin being St. Mary and the child being Jesus Christ. Unlike other icons of the Virgin and Child, this icon shows a more personalized and compassionate image of the Virgin. Here St. Mary the virgin is shown to be tender even in the way she is holding the child. The iconographer is unknown. However, the icon was painted in Constantinople by a

Is Veneration of Icons Idolatry? That "Thou shalt not make unto thee any graven image, or any likeness of any thing that is in heaven above or in the earth beneath, nor of those things that are in the waters under the earth. Thou shalt not adore them, nor serve them" (Exodus 20:4-5 and Deuteronomy 5:9) might, at first glance, be seen as an absolute command or prohibition against worship of any kind of image (A. Fortescue, Veneration of Images, 1910, Volume VII). "For iconoclasts (image-breakers)

An Australian Icon An Australian Icon is defined as “an image or symbolic representation, which often holds great significance and importance to the Australian culture.” Every country has icons that represent their culture and values; Nelson Mandela is an example of a South African icon but also an icon of the world, who represented statesmanship, courage, freedom and equality against apartheid. Australia also has many significant icons such as the Sydney Opera House, Uluru, vegemite, Ned Kelly

Pop Culture Icons Have you ever looked at pop culture icons and wondered why certain celebrities appear in ads? Especially when the person has no apparent relationship with the product being sold in the ad. It seems like there is some mysterious force that attracts companies to recruit these stars to be in their ads. What most people do not realize is that these ads try to entice younger viewers into looking at them by displaying pop figures who are popular and controversial. These companies

American popular culture has always been a market for sales. Everything that is and has made pop culture what it is in America has been built through commercialization. The ability to sell the main product and then the countless other revenue items that go with that product define American culture. Today in the United States a person would be hard-pressed to fined a movie showing in theaters that does not have a soundtrack out, t-shirt even action figures that go along with it. So where did this

The purpose of this thesis is to compare and contrast iconography of the Good Shephard, in relation to the status of the Good Shepherd as one of the most popular icons representing Jesus, its origins in pagan art, and the use of similar subject matter. The two images reviewed here cover the period of the early stages of Christianity within the Roman Empire, and are depictions of the Good Shephard using different format and technique. The Merriam Webster description of iconography is “traditional

Rousseau, Thoreau, and Marx discuss man’s alienation from nature and his/her natural conscience, which is sublated by material consciousnesses that are symbolic of: luxury, liberty, and capital. The alienating effects in the transition from feudalism to the modern state are grounded within: the luxury of “commerce and money” (Rousseau, “Science and Arts,” 16); onto a false sense of liberty in “commerce and agriculture” (Thoreau, “Civil Disobedience,” 228); then towards capital in “commerce”

Whether it be on prayer cards or gold chains, the image of the Virgin of Guadalupe has resonance with the nation of Mexico. Modern Mexican icons, such as the Virgin of Guadalupe, have foundations in Post-Conquest New Spain's plight in forming an identity separate from that of Spain. In James Cordova's "Colonial Rhetorics," a chapter within The Art of Professing in Bourbon Mexico, Cordova asserts a similar notion. This chapter argues that local emblems, such as the Virgin of Guadalupe and the crowned

heresy of iconoclasm is the destruction of religious icons; translated into English iconoclasm means “image breaker.” Icons were abused by Christians in the early Church, with people attaching a superstitious value to the image rather than God Himself. This idolatry used icons incorrectly, as they were only meant to inspire prayer and worship, and not to be worshipped themselves. Iconoclasts sought to resolve the issue of idolatry by destroying the icons rather than correcting those who were abusing them