Jesus chose twelve disciples  (the "Twelve"), evidently as an apocalyptic message. All three Synoptics mention the Twelve, although the names on Luke's list vary from those in Mark and Matthew, suggesting that Christians were not certain who all the disciples were. The 12 disciples might have represented the twelve original tribes of Israel, which would be restored once God's rule was instituted. The disciples were reportedly meant to be the rulers of the tribes in the coming Kingdom (Matthew 19:28, Luke 22:30). According to Bart Ehrman, Jesus' promise that the Twelve would rule is historical, because the Twelve included Judas Iscariot. In Ehrman's view, no Christians would have invented a line from Jesus, promising rulership to the disciple who betrayed him. In Mark, the disciples play hardly any role other than a negative one. While others sometimes respond to Jesus with complete faith, his disciples are puzzled and doubtful. They serve as a foil to Jesus and to other characters. The failings of the disciples are probably exaggerated in Mark, and the disciples make a better showing in Matthew and Luke.
So he made two doors of olive wood, and he carved on them carvings of cherubim, palm trees, and open flowers, and overlaid them with gold; and he spread the gold on the cherubim and on the palm trees. So also he made for the entrance of the nave four-sided doorposts of olive wood and two doors of cypress wood; the two leaves of the one door turned on pivots, and the two leaves of the other door turned on pivots. He carved on it cherubim, palm trees, and open flowers; and he overlaid them with gold evenly applied on the engraved work.
In the Synoptics, Jesus and his disciples go to the garden Gethsemane, where Jesus prays to be spared his coming ordeal. Then Judas comes with an armed mob, sent by the chief priests, scribes and elders. He kisses Jesus to identify him to the crowd, which then arrests Jesus. In an attempt to stop them, an unnamed disciple of Jesus uses a sword to cut off the ear of a man in the crowd. After Jesus' arrest, his disciples go into hiding, and Peter, when questioned, thrice denies knowing Jesus. After the third denial, Peter hears the rooster crow and recalls Jesus' prediction about his denial. Peter then weeps bitterly.
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The Last Supper is the final meal that Jesus shares with his 12 apostles in Jerusalem before his crucifixion. The Last Supper is mentioned in all four canonical gospels; Paul's First Epistle to the Corinthians (11:23–26) also refers to it. During the meal, Jesus predicts that one of his apostles will betray him. Despite each Apostle's assertion that he would not betray him, Jesus reiterates that the betrayer would be one of those present. Matthew 26:23–25 and John 13:26–27 specifically identify Judas as the traitor.
The anger of the LORD burned against Israel, and He gave them into the hands of plunderers who plundered them; and He sold them into the hands of their enemies around them, so that they could no longer stand before their enemies. Wherever they went, the hand of the LORD was against them for evil, as the LORD had spoken and as the LORD had sworn to them, so that they were severely distressed. Then the LORD raised up judges who delivered them from the hands of those who plundered them.
The Catholic Church launched the Counter-Reformation to fight for the hearts and minds of those Christians who had 'gone over' to Protestantism. To this end, the Society of Jesus (Societas Jesu) - founded by S. Ignatius Loyola and commonly known as the Jesuits - was formally established in 1540 by Pope Paul III, as an important teaching body and missionary order. Jesuit art was suitably inspirational. First, the architect Giacomo Barozzi (Vignola) was commissioned to design a church for the new order - The Church of the Holy Name of Jesus (Il Gesu) (1568-73) - for which the Baroque painter Giovanni Battista Gaulli painted the fabulous trompe l'oeil ceiling frescoes. Another Jesuit church, the San Ignazio, was the setting for what is arguably the greatest example of quadratura painting ever created - The Triumph and Apotheosis of St Ignatius of Loyola (1691-4) by Andrea Pozzo. There exists no greater exemplar of Counter-Reformation painting, and no better example of the differences between Protestant and Catholic art.
Matthew and Luke each describe Jesus' birth, especially that Jesus was born by a virgin named Mary in Bethlehem in fulfillment of prophecy. Luke's account emphasizes events before the birth of Jesus and centers on Mary, while Matthew's mostly covers those after the birth and centers on Joseph. Both accounts state that Jesus was born to Joseph and Mary, his betrothed, in Bethlehem, and both support the doctrine of the virgin birth of Jesus, according to which Jesus was miraculously conceived by the Holy Spirit in Mary's womb when she was still a virgin. At the same time, there is evidence, at least in the Lukan Acts of the Apostles, that Jesus was thought to have had, like many figures in antiquity, a dual paternity, since there it is stated he descended from the seed or loins of David. Christian Gifts
He also made two capitals of molten bronze to set on the tops of the pillars; the height of the one capital was five cubits and the height of the other capital was five cubits. There were nets of network and twisted threads of chainwork for the capitals which were on the top of the pillars; seven for the one capital and seven for the other capital. So he made the pillars, and two rows around on the one network to cover the capitals which were on the top of the pomegranates; and so he did for the other capital. The capitals which were on the top of the pillars in the porch were of lily design, four cubits. There were capitals on the two pillars, even above and close to the rounded projection which was beside the network; and the pomegranates numbered two hundred in rows around both capitals. Thus he set up the pillars at the porch of the nave; and he set up the right pillar and named it Jachin, and he set up the left pillar and named it Boaz. On the top of the pillars was lily design. So the work of the pillars was finished.
The word that came to Jeremiah from the Lord: “Arise, and go down to the potter's house, and there I will let you hear my words.” So I went down to the potter's house, and there he was working at his wheel. And the vessel he was making of clay was spoiled in the potter's hand, and he reworked it into another vessel, as it seemed good to the potter to do. Then the word of the Lord came to me: ... Share Your Faith Products
Learn all about the life of Jesus from his birth in Bethlehem to his death and resurrection. Discover the truths about the Son of God who became the Savior of the world. Get biblical answers to common questions many people have about Christ our Savior. Whether you have been a Christian for years or you are seeking to know more about who Jesus is, who aim to give answers from well-known theologians, pastors and speakers. Use the categories below to learn more about each area of Jesus' life and ministry.
The New Testament describes Jesus wearing tzitzit—the tassels on a tallit—in Matthew 14:36 and Luke 8:43–44. Besides this, the New Testament gives no description of the physical appearance of Jesus before his death—it is generally indifferent to racial appearances and does not refer to the features of the people it mentions. Jesus probably looked like a typical Jew of his time and according to some scholars was likely to have had a sinewy appearance due to his ascetic and itinerant lifestyle.
In the West, the Renaissance saw an increase in monumental secular works, but until the Protestant Reformation Christian art continued to be commissioned in great quantities by churches, clergy and by the aristocracy. The Reformation had a huge effect on Christian art, rapidly bringing the production of public Christian art to a virtual halt in Protestant countries, and causing the destruction of most of the art that already existed.
“Come, everyone who thirsts, come to the waters; and he who has no money, come, buy and eat! Come, buy wine and milk without money and without price. Why do you spend your money for that which is not bread, and your labor for that which does not satisfy? Listen diligently to me, and eat what is good, and delight yourselves in rich food. Incline your ear, and come to me; hear, that your soul may live; and I will make with you an everlasting covenant, my steadfast, sure love for David. Behold, I made him a witness to the peoples, a leader and commander for the peoples. Behold, you shall call a nation that you do not know, and a nation that did not know you shall run to you, because of the Lord your God, and of the Holy One of Israel, for he has glorified you. ...
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Not everything contained in the New Testament gospels is considered to be historically reliable. Views range from their being inerrant descriptions of the life of Jesus to their providing little historical information about his life beyond the basics. According to a broad scholarly consensus, the Synoptic Gospels (Matthew, Mark, and Luke), and not John, are the most reliable sources of information about Jesus.
In Luke 1:31–38, Mary learns from the angel Gabriel that she will conceive and bear a child called Jesus through the action of the Holy Spirit. When Mary is due to give birth, she and Joseph travel from Nazareth to Joseph's ancestral home in Bethlehem to register in the census ordered by Caesar Augustus. While there Mary gives birth to Jesus, and as they have found no room in the inn, she places the newborn in a manger (Luke 2:1–7). An angel announces the birth to some shepherds, who go to Bethlehem to see Jesus, and subsequently spread the news abroad (Luke 2:8–20). After the presentation of Jesus at the Temple, Joseph, Mary and Jesus return to Nazareth.
The theme verse of 1 & 2 Kings are combined for two reasons: first, the two documents were originally written as one book, but were simply divided up because of scroll length. This is true also of 1 & 2 Chronicles and 1 & 2 Samuel, but in this case, the theme of both 1 & 2 Kings was best summed up together (in the other book pairs, each book had a more distinctive theme).
Medieval Christian art on the Continent followed similar paths, albeit a little later. Carolingian art (c.750-900), for instance, (the culture of the Frankish kingdom of Charlemagne I) was inspired by Byzantine rather than Irish models. Monastic scriptoria at Aachen, Paris, Reims, Metz and Tours produced beautiful examples of medieval painting like the Godescalc Evangelistary (c.783), the Utrecht Psalter (c.830) and the Grandval Bible (c.840). Carolingian cuture was followed by Ottonian art, under the Holy Roman Emperors Otto I, II and III (900-1050). Inspired by Carolingian techniques as well as Byzantine elements - like the use of gold leaf - Ottonian art was famous for its lavishly decorated manuscripts, including the Perikpenbuch of Henry II (c.1010), the Bamberg Apocalypse (c.1020), the Hitda-Codex (c.1025) and the Codex Aureus Epternacensis (c.1053). See also: German Medieval Art (c.800-1250). Christian Canvas Art
The Lord said to Moses, “See, I have called by name Bezalel the son of Uri, son of Hur, of the tribe of Judah, and I have filled him with the Spirit of God, with ability and intelligence, with knowledge and all craftsmanship, to devise artistic designs, to work in gold, silver, and bronze, in cutting stones for setting, and in carving wood, to work in every craft. ...
One important aspect of the study of the gospels is the literary genre under which they fall. Genre "is a key convention guiding both the composition and the interpretation of writings". Whether the gospel authors set out to write novels, myths, histories, or biographies has a tremendous impact on how they ought to be interpreted. Some recent studies suggest that the genre of the gospels ought to be situated within the realm of ancient biography. Although not without critics, the position that the gospels are a type of ancient biography is the consensus among scholars today.
^ Catholic Encyclopedia: Proselyte: "The English term "proselyte" occurs only in the New Testament where it signifies a convert to the Jewish religion (Matthew 23:15; Acts 2:11; 6:5; etc.), though the same Greek word is commonly used in the Septuagint to designate a foreigner living in Palestine. Thus the term seems to have passed from an original local and chiefly political sense, in which it was used as early as 300 BC, to a technical and religious meaning in the Judaism of the New Testament epoch."
Since its beginnings during the first century of the Roman Empire, Christianity has spread around the world to become the principal religion, value-system, and social agenda of mankind: at least until the 20th century. Run first by Christ and the Apostles, it gradually gave birth to its own hierarchical organization, the Christian Church, which over time became the largest and most influential patron of the arts. Indeed, from the outset, the Christian Church used many different types of art in order to create an identity for itself, increase its power and thus attract worshippers. In the process it developed its own Christian iconography, relying heavily on architecture (cathedrals, churches, monasteries), sculpture (statues of the Holy Family, as well as prophets, apostles, saints), painting (altarpieces, church murals), decorative art (stained glass, mosaics) and illuminated manuscripts (Gospels, psalters). In fact, during the early 16th century, the Church commissioned so much Biblical art - using money raised through higher taxes, and the 'sale' of benefices and indulgences - that it led to widespread protests: protests that coalesced into the Reformation, and the division of the Church into Roman Catholic and Protestant. Even so, one can say that, in the West at least, the history of art is the history of Christian art. Christian Canvas Art
The Roman Catholic Church responded to the Protestant Reformation with the Counter-Reformation. Catholic Counter-Reformation Art was designed to communicate the distinctive tenets of the Catholic liturgy and faith so as to strengthen the popularity of Catholicism. It was launched at the same time as Mannerist painting was taking hold in Italy - a highly expressive style that used distortion for effect, as exemplified in Parmigianino's picture Madonna with the Long Neck (1535, Uffizi). Concerned that Catholic art was attaching too much importance to decorative qualities, and not enough to religious values - thus negating its educational effects on churchgoers - the Catholic authorities decreed that Biblical art should be be direct and compelling in its narrative presentation, which itself should be accurate rather than fanciful, and should above all encourage piety. Nudity, and other inappropriate imagery was banned. For an example of a pious Mannerist artsist who adapted his style in line with the Church's teaching, see: Federico Barocci (1526-1612).
^ Jump up to: a b In a 2011 review of the state of modern scholarship, Bart Ehrman wrote, "He certainly existed, as virtually every competent scholar of antiquity, Christian or non-Christian, agrees". Richard A. Burridge states: "There are those who argue that Jesus is a figment of the Church's imagination, that there never was a Jesus at all. I have to say that I do not know any respectable critical scholar who says that any more". Robert M. Price does not believe that Jesus existed, but agrees that this perspective runs against the views of the majority of scholars. James D. G. Dunn calls the theories of Jesus' non-existence "a thoroughly dead thesis". Michael Grant (a classicist) wrote in 1977, "In recent years, 'no serious scholar has ventured to postulate the non historicity of Jesus' or at any rate very few, and they have not succeeded in disposing of the much stronger, indeed very abundant, evidence to the contrary". Robert E. Van Voorst states that biblical scholars and classical historians regard theories of non-existence of Jesus as effectively refuted.
1 Then the LORD said to Moses, 2 “See, I have chosen Bezalel son of Uri, the son of Hur, of the tribe of Judah, 3 and I have filled him with the Spirit of God, with wisdom, with understanding, with knowledge and with all kinds of skills— 4 to make artistic designs for work in gold, silver and bronze, 5 to cut and set stones, to work in wood, and to engage in all kinds of crafts. 6 Moreover, I have appointed Oholiab son of Ahisamak, of the tribe of Dan, to help him. Also I have given ability to all the skilled workers to make everything I have commanded you:
Once Christianity was legally permitted, its need for religious art increased rapidly. New churches were built as centres of worship, using the architectural design of the basic Roman Basilica (used for civic administration and justice). A typical basilica church had a central nave with one or more aisles on either side and a semi-circular/polygonal apse at one end, covered by a semi-dome or sectional vault; the apse became the presbytery and contained a raised platform, upon which sat the bishop, his priests, and also the altar. Baptisteries were also designed and built for various rites, notably baptism followed by annointing-with-oil, as non-baptized people could not enter the Christian Basilica. Most interior decoration of these new religious buildings was done with mosaics, although mural paintings have also been uncovered. The sculptural decoration of sarcophagi became more intricate, often illustrating numerous scenes from the bible. But almost no sculpture in the round was made, for fear of creating pagan-style idols. Relief sculpture was therefore standard, mostly in stone although ivory carving was another popular medium. Overall, the 4th century witnessed more art, the use of richer materials, and the development of precise narrative sequences, as in the mosaics of Santa Maria Maggiore in Rome and the later 5th century churches of Ravenna. In addition, during the 5th century, Christian imagery began to accord greater importance to religious significance than to realism. Thus realistic perspective, proportions, colour and light were downgraded in favour of standardized conventions and symbols, when portraying Biblical figures and events. Christian Gifts
And King Solomon sent and brought Hiram from Tyre. He was the son of a widow of the tribe of Naphtali, and his father was a man of Tyre, a worker in bronze. And he was full of wisdom, understanding, and skill for making any work in bronze. He came to King Solomon and did all his work. He cast two pillars of bronze. Eighteen cubits was the height of one pillar, and a line of twelve cubits measured its circumference. It was hollow, and its thickness was four fingers. The second pillar was the same. He also made two capitals of cast bronze to set on the tops of the pillars. The height of the one capital was five cubits, and the height of the other capital was five cubits. There were lattices of checker work with wreaths of chain work for the capitals on the tops of the pillars, a lattice for the one capital and a lattice for the other capital. ... Share Your Faith Products
The most famous Romanesque churches and religious buildings include: Cluny Church II (981, Burgundy); Monastery Church of S. Pedro de Roda (1022, Catalonia); Abbey Church of St Michael, Hildesheim (1033, Germany); Ely Cathedral (1080, England); Pisa Cathedral (after 1083, Italy); La Grand Chartreuse Abbey (1084, Grenoble); Durham Cathedral (after 1093, England); Speyer Cathedral (1106, Germany); Abbey Church of Sainte-Foy (1120, France); Baptistery of St Giovanni, Florence (1128, Italy); Cluny Church III (1130, France); Mainz Cathedral (1137, Germany); Krak des Chevaliers (after 1142, Homs, Syria); Abbey Church of Fontenay (1147, France); Worms Cathedral (1200, Germany); and the Church of the Madeleine (1215, Vezelay). Share Your Faith Products
By the middle of the 18th century, Catholic countries were becoming overstocked with cathedrals, churches, abbeys, monasteries and convents - in the case of certain cities like Naples, almost absurdly so. As a result, ecclesiastical commissions began to dry up. At the same time, with the advent of the 18th century Enlightenment, the Industrial Revolution and political upheavals like the French Revolution of 1789, the European Christian Church lost ground to nationalism, socialism and other value systems. What's more, it raised less money to spend on religious statues or other forms of church art. By the 19th century, the Church was less important as a patron of the arts than kings and noblemen, while the middle class demand for portraits, topographical landscapes and other secular works, was increasing rapidly. Painters could enjoy a prosperous career simply by focusing on portrait art, or various types of landscape painting, without ever painting a religious subject - something hitherto unknown in Catholic countries, though long regarded as normal in Protestant ones.
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