Later periods Depiction of Jesus

christ carrying cross, 1580, el greco, art reflects both roots in greek orthodox traditions , catholic counter-reformation

by 5th century depictions of passion began appear, perhaps reflecting change in theological focus of church. 6th century rabbula gospels includes of earliest surviving images of crucifixion , resurrection. 6th century bearded depiction of jesus had become standard in east, though west, in northern europe, continued mix bearded , unbearded depictions several centuries. depiction longish face, long straight brown hair parted in middle, , almond shaped eyes shows consistency 6th century present. various legends developed believed authenticate historical accuracy of standard depiction, such image of edessa , later veil of veronica.

partly aid recognition of scenes, narrative depictions of life of christ focused increasingly on events celebrated in major feasts of church calendar, , events of passion, neglecting miracles , other events of jesus public ministry, except raising of lazarus, mummy-like wrapped body shown standing upright, giving unmistakable visual signature. cruciform halo worn jesus (and other persons of trinity), while plain halos distinguished mary, apostles , other saints, helping viewer read increasingly populated scenes.

the period of byzantine iconoclasm acted barrier developments in east, 9th century art permitted again. transfiguration of jesus major theme in east , every eastern orthodox monk had trained in icon painting had prove craft painting icon of transfiguration. however, while western depictions increasingly aimed @ realism, in eastern icons low regard perspective , alterations in size , proportion of image aim reach beyond earthly reality spitual meaning.

the 13th century witnessed turning point in portrayal of powerful kyrios image of jesus wonder worker in west, franciscans began emphasize humility of jesus both @ birth , death via nativity scene crucifixion. franciscans approached both ends of spectrum of emotions , joys of nativity of added agony of crucifixion whole new range of emotions ushered in, wide-ranging cultural impact on image of jesus centuries thereafter.

after giotto, fra angelico , others systematically developed uncluttered images focused on depiction of jesus ideal human beauty, in works leonardo da vinci s last supper, arguably first high renaissance painting. images of jesus drew on classical sculpture, @ least in of poses. michelangelo considered have gone far in beardless christ in last judgment fresco in sistine chapel, adapted classical sculptures of apollo, , path followed other artists.

the high renaissance contemporary start of protestant reformation which, in first decades, violently objected public religious images idolatrous, , vast numbers destroyed. gradually images of jesus became acceptable protestants in various contexts, in narrative contexts, book illustrations , prints, , later in larger paintings. protestant art continued now-standard depiction of physical appearance of jesus. meanwhile, catholic counter-reformation re-affirmed importance of art in assisting devotions of faithful, , encouraged production of new images of or including jesus in enormous numbers, continuing use standard depiction.

by end of 19th century, new reports of miraculous images of jesus had appeared , continue receive significant attention, e.g. secondo pia s 1898 photograph of shroud of turin, 1 of controversial artifacts in history, during may 2010 exposition visited on 2 million people. 20th century depiction of jesus, namely divine mercy image based on faustina kowalska s reported vision has on 100 million followers. first cinematic portrayal of jesus in 1897 film la passion du christ produced in paris, lasted 5 minutes. thereafter cinematic portrayals have continued show jesus beard in standard western depiction resembles traditional images.