By David R. Cartlidge, J. Keith Elliot
The Christian canon of scripture, referred to as the hot testomony, excluded a few of the Church's conventional tales approximately its origins. even supposing no longer within the Bible, those renowned tales have had a strong impact at the Church's traditions and theology, and a very marked impact on visible representations of Christian trust. This booklet offers a lucid creation to the connection among the apocryphal texts and the work, mosaics, and sculpture within which they're often paralleled, and which were so major in transmitting those non-Biblical tales to generations of churchgoers.
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Extra info for Art and the Christian Apocrypha
There is an image of Jesus considerably older than the rhetorical description in the Lentulus letter which also bears the distinction of its being a model for the Jesus pictures which followed it. It is one of the two most famous images 'not made by hands' (acheiropoietes) in Christian legend.
Her parents stand below, almost obscured by the crowd. Vendors and other townsfolk do not notice the momentous event; indeed, the greed on the faces of the temple's money-changers obscures everything other than their business. There is a Brueghel-like quality to the truly world-changing event which passes unnoticed by virtually everyone. The Life of the Virgin cycle also celebrates the new position in which the church of the second through the sixth centuries finds itself. It is, as an inscription on S.
Mary's images in the cycle, portraits of the Theotokos which stand by themselves, and images parallel with canonical sources bear the imprint of the early versions of the cycle of the life of the Virgin. The iconic version of these gospels puts a visual and therefore very decisive stamp upon the way in which the church saw the Virgin in its theology. The elevation of the Virgin surely is part of the cycle's purpose. But this is far from the text's or the image cycle's only purpose. The cycle and the images which have been derived from this cycle, in a way consistent with other early Christian art, tie the events of redemption from the time of prophecy to that of the life of the Redeemer.
Art and the Christian Apocrypha by David R. Cartlidge, J. Keith Elliot