Christian art in the context of "Swastika"

Christendom or the Christian world are terms commonly used to refer to the global Christian community, Christian states, Christian-majority countries or countries in which Christianity is dominant or prevails.

Following the spread of Christianity from the Levant to Europe and North Africa during the early Roman Empire, Christendom has been divided in the pre-existing Greek East and Latin West. After the Great schism of 1054, two main branches within Christianity emerged, centred around the cities of Rome (Western Christianity, whose community was called Western or Latin Christendom) and Constantinople (Eastern Christianity, whose community was called Eastern Christendom or Byzantine commonwealth). After the fall of Constantinople in 1453, Latin Christendom rose to a central role in the Western world. Following the reformation, protestantism emerged as the third main branch of Christianity in the 16th century. The history of the Christian world spans about 2,000 years and includes a variety of socio-political developments, as well as advancements in the arts, architecture, literature, science, philosophy, politics and technology.

An altarpiece is a painting or sculpture, including relief, of religious subject matter made for placing at the back of or behind the altar of a Christian church. Though most commonly used for a single work of art such as a painting or sculpture, or a set of them, the word can also be used of the whole ensemble behind an altar, otherwise known as a reredos, including what is often an elaborate frame for the central image or images. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of Baroque painting.

The word altarpiece, used for paintings, usually means a framed work of panel painting on wood, or later on canvas. In the Middle Ages they were generally the largest genre for these formats. Murals in fresco tend to cover larger surfaces. The largest painted altarpieces developed complicated structures, especially winged altarpieces with hinged side wings that folded in to cover the main image, and were painted on the reverse with different simpler images. Often this was the normal view shown in the church, except for Sundays and feast days, when the wings were opened to display the main image. At other times visitors could usually see this by paying the sacristan.

A sacramental (Latin pl. sacramentalia) is a sacred sign, a ritual act or a ceremony, which, in a certain imitation of the sacraments, has a spiritual effect and is obtained through the intercession of the Church. Sacramentals surround the sacraments like a wreath and extend them into the everyday life of Christians. Sacramentals are recognised by the Catholic Church, the Eastern Orthodox Church, the Oriental Orthodox Churches, the Church of the East, the Lutheran churches, the Old Catholic Church, the Anglican churches, and Independent Catholic churches.

In the Bible, prayer cloths and holy oil are mentioned in reference to praying for healing. Holy water is a sacramental that the faithful use to recall their baptism; other common sacramentals include blessed candles (given to the faithful on Candlemas), blessed palms (blessed on the beginning of the procession on Palm Sunday), blessed ashes (bestowed on Ash Wednesday), a cross necklace (often taken to be blessed by a pastor before daily use), a headcovering (worn by women, especially during prayer and worship), blessed salt, and holy cards, as well as Christian art, especially a crucifix. Apart from those worn daily, such as a cross necklace or devotional scapular, sacramentals such as a family Bible, are often kept on home altars in Christian households. Ichthys emblems are sacramentals applied to vehicles to signify that the owner is a Christian and to offer protection while driving. When blessed in a betrothal ceremony, engagement rings become a sacramental.

The statue of Laocoön and His Sons, also called the Laocoön Group (Italian: Gruppo del Laocoonte), has been one of the most famous ancient sculptures since it was excavated in Rome in 1506 and put on public display in the Vatican Museums, where it remains today. The statue is very likely the same one praised in the highest terms by Pliny the Elder, the main Roman writer on art, who attributed it to Greek sculptors but did not say when it was created. The figures are nearly life-sized, with the entire group measuring just over 2 m (6 ft 7 in) in height. The sculpture depicts the Trojan priest Laocoön and his sons Antiphantes and Thymbraeus being attacked by sea serpents.

The Laocoön Group has been called "the prototypical icon of human agony" in Western art. Unlike the agony often portrayed in Christian art depicting the Passion of Jesus and martyrs, the suffering here suggests neither redemption nor reward. The agony is conveyed through the contorted facial expressions, particularly Laocoön's bulging eyebrows, which were noted by Guillaume Duchenne de Boulogne as physiologically impossible. These expressions are mirrored in the struggling bodies, especially Laocoön's, with every part of his body shown straining.

The circumcision of Jesus is an event from the life of Jesus, according to the Gospel of Luke chapter 2, which states:

The eight days after his birth is traditionally observed 1 January. This is in keeping with the Jewish law which holds that males should be circumcised eight days after birth during a Brit milah ceremony, at which they are also given their name. The circumcision of Christ became a very common subject in Christian art from the 10th century onwards, one of numerous events in the Life of Christ to be frequently depicted by artists. It was initially seen only as a scene in larger cycles, but by the Renaissance might be treated as an individual subject for a painting, or form the main subject in an altarpiece.

The Life of the Virgin, showing narrative scenes from the life of Mary, the mother of Jesus, is a common subject for pictorial cycles in Christian art, often complementing, or forming part of, a cycle on the Life of Christ. In both cases the number of scenes shown varies greatly with the space available. Works may be in any medium: frescoed church walls and series of old master prints have many of the fullest cycles, but panel painting, stained glass, illuminated manuscripts, tapestries, stone sculptures and ivory carvings have many examples.

The life of Christ as a narrative cycle in Christian art comprises a number of different subjects showing events from the life of Jesus on Earth. They are distinguished from the many other subjects in art showing the eternal life of Christ, such as Christ in Majesty, and also many types of portrait or devotional subjects without a narrative element.

They are often grouped in series or cycles of works in a variety of media, from book illustrations to large cycles of wall paintings, and most of the subjects forming the narrative cycles have also been the subjects of individual works, though with greatly varying frequency. By around 1000, the choice of scenes for the remainder of the Middle Ages became largely settled in the Western and Eastern churches, and was mainly based on the major feasts celebrated in the church calendars.

The Flagellation of Christ, in art sometimes known as Christ at the Column or the Scourging at the Pillar, is an episode from the Passion of Jesus as presented in the Gospels. As such, it is frequently shown in Christian art, in cycles of the Passion or the larger subject of the Life of Christ. Catholic tradition places the Flagellation on the site of the Church of the Flagellation (the second station of the Via Dolorosa in Jerusalem). It is the second Sorrowful Mystery of the Rosary and the sixth station of John Paul II's Scriptural Way of the Cross. The column to which Christ is normally shown to be tied, and the rope, scourge, whip or birch are elements in the Arma Christi. The Basilica di Santa Prassede in Rome is one of the churches claiming to possess the original column or parts of it.

In art, the subject was first depicted as one of a series of Passion scenes, but from the 15th century onwards it was also painted in individual works. The most-discussed single work is the enigmatic Flagellation of Christ on a small panel in Urbino by Piero della Francesca (1455–1460), the precise meaning of which has eluded generations of art historians. At the same time, Christ at the Column or Christ at the Stake developed as an image of Christ alone tied to a column or stake. This was most popular in Baroque sculpture, and also related to the subject, not found in the canonical Gospels, of Christ in the Dungeon. It is often difficult to distinguish between these two subjects, and between Christ at the Column and a Flagellation.

The Agony in the Garden of Gethsemane is an episode in the life of Jesus, which occurred after the Last Supper and before his betrayal and arrest, all part of the Passion of Jesus leading to his crucifixion and death. This episode is described in the three Synoptic Gospels in the New Testament. According to these accounts, Jesus, accompanied by Peter, John and James, enters the garden of Gethsemane on the Mount of Olives where he experiences great anguish and prays to be delivered from his impending suffering, while also accepting God's will.

This episode is a significant event in Christian tradition, especially in Catholic devotional practices. The agony of Jesus in the Garden is the first (or second) station of the Scriptural Way of the Cross (modern version of the Via Crucis) and the first "sorrowful mystery" of the Dominican Rosary, and it is the inspiration for the Holy Hour devotion in the Eucharistic adoration. It has been a frequent theme in Christian art depicting the life of Jesus.