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Were Images of God in a Whole Body Halo or Mandorla Were Common in Jewish and Early Christian Art

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Religious symbol representing a ring of light

A halo (from the Greek ἅλως , halōs ;[1] also known as a nimbus, aureole, glory, or gloriole) is a crown of low-cal rays, circle or disk of light[two] that surrounds a person in art. It has been used in the iconography of many religions to betoken holy or sacred figures, and has at various periods also been used in images of rulers or heroes. In the religious fine art of Ancient Greece, Ancient Rome, Christianity, Hinduism, and Buddhism among other religions, sacred persons may be depicted with a halo in the form of a circular glow, or flames in Asian art, around the caput or around the whole body—this last one is often called a mandorla. Halos may be shown as well-nigh any color or combination of colours, but are most oft depicted as golden, yellowish or white when representing light or red when representing flames.

Ancient Greek world [edit]

Sumerian religious literature frequently speaks of melam (loaned into Akkadian as melammu ), a "brilliant, visible glamour which is exuded past gods, heroes, sometimes past kings, and likewise by temples of bang-up holiness and by gods' symbols and emblems."[3]

Homer describes a more than-than-natural light effectually the heads of heroes in battle.[4] Depictions of Perseus in the act of slaying Medusa, with lines radiating from his head, appear on a white-footing toiletry box and on a slightly later red-figured vase in the manner of Polygnotos, c.  450–30 BC.[5] On painted wares from south Italy, radiant lines or simple haloes appear on a range of mythic figures: Lyssa, a personification of madness; a sphinx; a sea demon; and Thetis, the sea-nymph who was mother to Achilles.[6] The Colossus of Rhodes was a statue of the sunday-god Helios and had his usual radiate crown (copied for the Statue of Liberty). Hellenistic rulers are often shown wearing radiate crowns that seem conspicuously to imitate this upshot.[7]

Asian fine art [edit]

In India, use of the halo might date dorsum to the 2d half of the second millennium BC. 2 figures appliqued on a pottery vase fragment from Daimabad's Malwa stage (1600–1400 BC) have been interpreted as a holy figure resembling the later Hindu god Shiva and an bellboy, both with halos surrounding their heads,[8] Aureola take been widely used in Indian art, particularly in Buddhist iconography[9] where it has appeared since at least the 1st century Advertizing; the Kushan Bimaran casket in the British Museum is dated 60 AD (at least betwixt 30BC and 200 Ad). The rulers of the Kushan Empire were peradventure the earliest to requite themselves haloes on their coins, and the nimbus in art may take originated in Central Asia and spread both due east and west.[ix]

In Chinese and Japanese Buddhist art the halo has as well been used since the earliest periods in depicting the image of Amitabha Buddha and others. Tibetan Buddhism uses haloes and aureoles of many types, drawing from both Indian and Chinese traditions, extensively in statues and Thangka paintings of Buddhist saints such as Milarepa and Padmasambhava and deities. Different coloured haloes accept specific meanings: orange for monks, greenish for the Buddha and other more than elevated beings,[10] and commonly figures accept both a halo for the head, and some other circular one for the body, the two ofttimes intersecting somewhere around the caput or neck. Sparse lines of gilded often radiate outwards or inwards from the rim of the halo, and sometimes a whole halo is fabricated up of these.[xi]

In India the head halo is called Prabhamandala or Siras-cakra , while the full trunk halo is Prabhavali .[12] Elaborate haloes and especially aureoles besides appear in Hindu sculpture, where they tend to develop into architectural frames in which the original idea can be hard to recognise. Theravada Buddhism and Jainism did non use the halo for many centuries, but later adopted it, though less thoroughly than other religious groups.

In Asian art, the nimbus is often imagined as consisting not merely of light, but of flames. This type seems to first appear in Chinese bronzes of which the earliest surviving examples date from before 450.[xiii] The depiction of the flames may be very formalized, as in the regular little flames on the ring aureole surrounding many Chola bronzes and other archetype Hindu sculptures of divinities, or very prominent, as with the more than realistic flames, and sometimes smoke, shown ascent to a height backside many Tibetan Buddhist depictions of the "wrathful aspect" of divinities, and also in Persian miniatures of the classic period. Sometimes a thin line of flames rise upwardly from the edges of a circular halo in Buddhist examples.[14] In Tibetan paintings the flames are often shown as blown by a wind, usually from left to right.[15] This type is besides very rarely found, and on a smaller scale, in medieval Christian art.[xvi] [ page needed ]

Halos are found in Islamic art from diverse places and periods, especially in Farsi miniatures and Moghul and Ottoman fine art influenced past them. Flaming halos derived from Buddhist art surround angels, and like ones are often seen around Muhammad and other sacred human figures. From the early 17th century, plainer round haloes appear in portraits of Mughal Emperors and subsequently Rajput and Sikh rulers;[9] despite the more local precedents art historians believe the Mughals took the motif from European religious art, though it expresses a Persian thought of the God-given charisma of kingship that is far older.[17] The Ottomans avoided using halos for the sultans, despite their title as Caliph, and they are just seen on Chinese emperors if they are posing as Buddhist religious figures, as some felt entitled to do.[18]

Arab republic of egypt and Asia [edit]

  • Ra with solar disc, before 1235 BC

  • Hindu effigy (11th century).

  • A multi-limbed Tibetan deity surrounded by an aureole of billowing fire and a colonnade of smoke which signifies the wrathful nature of the deity (19th century). (Thangka of the Hayagriva)

  • Modern Hindu devotional images of Durga and other haloed deities

Roman art [edit]

The halo represents an aura or the glow of sanctity which was conventionally drawn encircling the head. It offset appeared in the culture of Hellenistic Hellenic republic and Rome, possibly related to the Zoroastrian hvarena – "glory" or "divine lustre" – which marked the Farsi kings, and may have been imported with Mithraism.[20] Though Roman paintings have largely disappeared, save some fresco decorations, the haloed figure remains fresh in Roman mosaics. In a 2nd-century Advertizement Roman flooring mosaic preserved at Bardo, Tunisia,[21] a haloed Poseidon appears in his chariot drawn by hippocamps. Significantly, the triton and nereid who accompany the body of water-god are not haloed.

In a late 2nd century Advertizement floor mosaic from Thysdrus, El Djem, (analogy) Apollo Helios is identified past his effulgent halo. Another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse.[22] The conventions of this representation, caput tilted, lips slightly parted, big-eyed, curling hair cut in locks grazing the neck, were developed in the tertiary century BC to depict Alexander the Great (Bieber 1964; Yalouris 1980). Onetime after this mosaic was executed, the Emperor began to exist depicted with a halo,[23] which was not abased when they became Christian; initially Christ only had one when shown on a throne as Christ in Majesty.[24]

Christian fine art [edit]

Early on pre-4th century Mosaic of Sol Invictus[25] in Mausoleum M in the pre-quaternary-century necropolis beneath St Peter'southward Basilica – interpreted past many as representing Christ.

The halo was incorporated into Early Christian art erstwhile in the 4th century with the earliest iconic images of Christ, initially the only figure shown with one (together with his symbol, the Lamb of God). Initially the halo was regarded by many as a representation of the Logos of Christ, his divine nature, and therefore in very early (before 500) depictions of Christ earlier his Baptism past John he tends not to be shown with a halo, it beingness a thing of debate whether his Logos was innate from conception (the Orthodox view), or acquired at Baptism (the Adoptionist view). At this menstruum he is besides shown as a child or youth in Baptisms, though this may exist a hieratic rather than an age-related representation.[26]

A cruciform halo, that is to say a halo with a cross inside, or extending across, the circle is used to represent the persons of the Holy Trinity, especially Jesus, and particularly in medieval art. In Byzantine and Orthodox images, inside each of the bars of the cross in Christ'southward halo is ane of the Greek messages Ο Ω Ν, making up ὁ ὢν —"ho ōn", literally, "the Existing One"—indicating the divinity of Jesus.[27] At least in later Orthodox images, each bar of this cross is equanimous of three lines, symbolising the dogmas of the Trinity, the oneness of God and the 2 natures of Christ.

In mosaics in Santa Maria Maggiore (432–40) the juvenile Christ has a four-armed cross either on top of his caput in the radius of the nimbus, or placed above the radius, merely this is unusual. In the same mosaics the accompanying angels take haloes (as, in a continuation of the Imperial tradition, does Male monarch Herod), but non Mary and Joseph. Occasionally other figures have crossed haloes, such as the seven doves representing the Seven gifts of the Holy Spirit in the 11th century Codex Vyssegradensis Tree of Jesse (where Jesse and Isaiah also have apparently haloes, as do the Ancestors of Christ in other miniatures).[28]

Later, triangular haloes are sometimes given to God the Male parent to represent the Trinity.[29] When he is represented by a hand emerging from a cloud, this may be given a halo.

Evidently round haloes are typically used to signify saints, the Virgin Mary, Old Attestation prophets, angels, symbols of the Four Evangelists, and some other figures. Byzantine emperors and empresses were frequently shown with them in compositions including saints or Christ, nevertheless the haloes were outlined only. This was copied by Ottonian and later Russian rulers. Old Testament figures become less probable to accept haloes in the Due west as the Centre Ages go on.[30]

Beatified figures, non yet canonised equally saints, are sometimes shown in medieval Italian art with linear rays radiating out from the head, just no circular border of the nimbus divers; later on this became a less obtrusive course of halo that could be used for all figures.[31] Mary has, especially from the Baroque flow onwards, a special form of halo in a circle of twelve stars, derived from her identification as the Adult female of the Apocalypse.

Square haloes were sometimes used for the living in donor portraits of about 500–1100 in Italia;[32] Most surviving ones are of Popes and others in mosaics in Rome, including the Episcopa Theodora head of the female parent of the Pope of the twenty-four hour period. They seem only an indication of a contemporary effigy, every bit opposed to the saints normally accompanying them, with no real implication of hereafter canonization. A late example is of Desiderius, Abbot of Monte Cassino, later Pope, from a manuscript of 1056–86;[33] Pope Gregory the Nifty had himself depicted with 1, co-ordinate to the 9th-century writer of his vita, John, deacon of Rome.[34] A figure who may correspond Moses in the third century Dura Europos Synagogue has one, where no circular halos are establish.[35] Personifications of the Virtues are sometimes given hexagonal haloes.[36] Scalloped haloes, sometimes just actualization equally made of radiating bars, are found in the manuscripts of the Carolingian "Ada School", such equally the Ada Gospels.

The whole-torso image of radiance is sometimes called the 'aureole' or glory; information technology is shown radiating from all circular the body, most often of Christ or Mary, occasionally of saints (especially those reported to have been seen surrounded past i). Such an aureola is frequently a mandorla ("almond-shaped" vesica piscis), specially around Christ in Majesty, who may well accept a halo as well. In depictions of the Transfiguration of Jesus a more complicated shape is ofttimes seen, especially in the Eastern Orthodox tradition, as in the famous 15th century icon in the Tretyakov Gallery in Moscow.[37]

Where gold is used as a background in miniatures, mosaics and console paintings, the halo is often formed by inscribing lines in the gold leafage, and may be decorated in patterns (diapering) inside the outer radius, and thus becomes much less prominent. The gold leaf within the halo may also be burnished in a circular manner, so as to produce the effect of light radiating out from the subject's head. In the early centuries of its apply, the Christian halo may be in most colours (though black is reserved for Judas, Satan and other evil figures) or multicoloured; afterwards gold becomes standard, and if the entire background is not golden foliage, the halo itself usually will exist.[38]

Decline of the halo [edit]

With increasing realism in painting, the halo came to exist a problem for artists. So long as they connected to apply the old compositional formulae which had been worked out to accommodate haloes, the issues were manageable, but as Western artists sought more flexibility in limerick, this ceased to exist the example. In free-standing medieval sculpture, the halo was already shown equally a flat disk above or behind the caput. When perspective came to exist considered essential, painters also changed the halo from an aureola surrounding the caput, always depicted equally though seen total-on, to a flat gilded disk or ring that appeared in perspective, floating higher up the heads of the saints, or vertically backside, sometimes transparent. This can be seen first in Giotto, who still gives Christ the cruciform halo which began to be phased out by his successors. In northern Europe the radiant halo, made up of rays similar a sunburst, came into fashion in French painting around the finish of the 14th century.[39]

In the early 15th century Jan van Eyck and Robert Campin largely abandoned their use, although some other Early on Netherlandish artists connected to use them.[40] In Italy at effectually the same fourth dimension, Pisanello used them if they did not clash with one of the enormous hats he liked to pigment. Generally they lasted longer in Italy, although oft reduced to a thin gold ring depicting the outer edge of the nimbus, usual for example in Giovanni Bellini. Christ began to be shown with a plain halo.

Fra Angelico, himself a monk, was a conservative equally far as haloes are concerned, and some of his paintings demonstrate the problems well, as in several of his more than crowded compositions, where they are shown as solid gold disks on the aforementioned plane as the picture surface, it becomes difficult to forbid them obstructing other figures. At the same time they were useful in crowded narrative scenes for distinguishing the primary, identifiable, figures from the mass of a crowd. Giotto's Lamentation of Christ from the Scrovegni Chapel has eight figures with haloes and ten without, to whom the viewer knows they are not meant to attach a specific identity. In the aforementioned fashion, a Baptism of Christ by Perugino in Vienna gives neither Christ nor John the Baptist haloes, equally sufficiently recognisable without them, but a saint in the background, non usually present in this scene, has a band halo to announce his status.[41]

In the High Renaissance, fifty-fifty most Italian painters dispensed with haloes altogether, just in the Church's reaction to the Protestant Reformation, that culminated in the decrees on images of the Council of Trent of 1563, their use was mandated past clerical writers on religious art such as Molanus and Saint Carlo Borromeo. Figures were placed where natural calorie-free sources would highlight their heads, or instead more unimposing quasi-naturalistic flickering or glowing light was shown around the head of Christ and other figures (perchance pioneered by Titian in his late period). Rembrandt's etchings, for example, show a diversity of solutions of all of these types, likewise as a bulk with no halo effect at all. The disk halo was rarely used for figures from classical mythology in the Renaissance, although they are sometimes seen, especially in the classical radiant grade, in Mannerist and Baroque art.

By the 19th century haloes had become unusual in Western mainstream art, although retained in iconic and popular images, and sometimes equally a medievalising event. When John Millais gives his otherwise realist St Stephen (1895) a ring halo, it seems rather surprising.[42] In pop graphic culture, a unproblematic ring has become the predominant representation of a halo since at to the lowest degree the late 19th century, as seen for example in the logo for the Simon Templar ("The Saint") series of novels and other adaptations.

Spiritual significance in Christianity [edit]

The early on Church building Fathers expended much rhetorical free energy on conceptions of God as a source of light; among other things this was because "in the controversies in the 4th century over the consubstantiality of the Father and the Son, the relation of the ray to the source was the well-nigh denoting example of emanation and of distinct forms with a common substance" – primal concepts in the theological thought of the time.[43]

A more Catholic interpretation is that the halo represents the low-cal of divine grace suffusing the soul, which is perfectly united and in harmony with the physical body.

In the theology of the Eastern Orthodox Church, an icon is a "window into heaven" through which Christ and the Saints in sky can be seen and communicated with. The gold footing of the icon indicates that what is depicted is in heaven. The halo is a symbol of the Uncreated Light (Greek: Ἄκτιστον Φῶς) or grace of God shining forth through the icon. Pseudo-Dionysius the Areopagite in his Celestial Hierarchies speaks of the angels and saints existence illuminated by the grace of God, and in plough illumining others.

Gallery – Christian fine art [edit]

  • Giotto Scrovegni Chapel, 1305, with apartment perspectival haloes; the view from behind causes difficulties, and John's halo has to be reduced in size.

  • The risen Christ appearing to the 11 (Luke 24,36-49) from Duccio's Maestà. Christ has a obviously halo; the Apostles only have them where they will not seriously interfere with the composition.

  • Netherlandish, earlier 1430. A religious scene where objects in a realistic domestic setting contain symbolism. A wicker firescreen serves equally a halo.

  • Mary above has a big aureole, St Anthony has a disk halo in perspective, but this would spoil the appearance of St George's hat. Pisanello, 1430s

  • Fra Angelico 1450, Mary's halo is in perspective, Joseph's is not. Jesus even so has a cruciform halo.

  • Salvator Mundi, 1570, by Titian. From the tardily Renaissance a more "naturalistic" form of halo was often preferred.

Origins and usage of the unlike terms [edit]

The stardom between the alternative terms used in English for various types of halo is rather unclear. The oldest term in English language is "celebrity", the but one available in the Middle Ages, but now largely obsolete. It came from the French gloire which has much the same range of meanings as "celebrity". "Gloriole" does not appear in this sense until 1844, being a modern invention, equally a diminutive, in French also. "Halo" is first found in English in this sense in 1646 (most a century after the optical or astronomical sense). Both "halos" and "haloes" may be used equally plural forms, and halo may be used every bit a verb.[44] Halo comes originally from the Greek for "threshing-floor" – a circular, slightly sloping expanse kept very clean, around which slaves or oxen walked to thresh the grain. In Greek, this came to mean a divine, brilliant disk.

Nimbus means "a cloud" in Latin, and is found equally "a divine cloud" in 1616, whereas equally "a bright or golden deejay surrounding the caput" it does not appear until 1727. The plural nimbi is correct but "rare"; "nimbuses" is not in the OED but sometimes used. Nimb is an obsolete course of the noun, only not a verb, except that the obsolete "nimbated", like the commoner "nimbate", ways "furnished with a nimbus". It is sometimes preferred by art-historians, as sounding more technical than halo.[45]

Aureole , from the Latin for "aureate", has been used in English equally a term for a gold crown, especially that traditionally considered the reward of martyrs, since the Center Ages (OED 1220). However, the first use recorded as a term for a halo is in 1848, very presently after which matters were greatly complicated by the publication in 1851 of the English translation of Adolphe Napoléon Didron's of import Christian Iconography: Or, The History of Christian Art in the Middle Ages. This, by what the OED calls a "strange corrigendum", derived the word from the Latin aura equally a atomic, and also defined it as meaning a halo or glory covering the whole body, whilst saying that "nimbus" referred only to a halo around the head. This, according to the OED, reversed the historical usage of both words, but whilst Didron's diktat was "not accepted in France", the OED noted it had already been picked up by several English dictionaries, and influenced usage in English, which nevertheless seems to be the case, as the word "nimbus" is mostly institute describing whole-body haloes, and seems to have also influenced "gloriole" in the aforementioned management.[46]

The only English language term that unequivocally means a full-torso halo, and cannot exist used for a round disk effectually the head is "mandorla", starting time occurring in 1883. However, this term, which is the Italian give-and-take for "almond", is unremarkably reserved for the vesica piscis shape, at least in describing Christian art. In discussing Asian art, it is used more than widely.[47] Otherwise, there could be said to be an excess of words that could refer to either a head-disk or a full-trunk halo, and no word that conspicuously denotes a full-body halo that is not vesica piscis shaped. "Halo" past itself, according to recent dictionaries,[48] ways only a circle around the head, although Rhie and Thurman use the give-and-take too for circular full-body aureoles.[49]

Run into also [edit]

  • Aura (paranormal)
  • Aureola
  • Crown of Immortality
  • Glory (optical phenomenon)
  • Glory in art
  • Velificatio

Notes [edit]

  1. ^ Harper, Douglas. "halo". Online Etymology Dictionary. ἅλως . Liddell, Henry George; Scott, Robert; A Greek–English language Lexicon at the Perseus Project.
  2. ^ "halo – art". britannica.com.
  3. ^ J. Black and A. Dark-green, Gods, Demons and Symbols of Ancient Mesopotmia (Austin, 1992) p. 130.
  4. ^ Iliad v.4ff, eighteen.203ff.
  5. ^ Marjorie J. Milne, "Perseus and Medusa on an Attic Vase" The Metropolitan Museum of Art Bulletin New Series, iv.5 (Jan 1946, pp. 126–130) 126.p.) JSTOR 3257993
  6. ^ L. Stephani, Nimbus und Strahlenkranz in den Werken der Alten Kunst" in Mémoires de 50'Académie des Sciences de Saint-Petersbourg, series half dozen, vol. vol nine, noted in Milne 1946:130.
  7. ^ Stevenson, Gregory M. (1995). "Conceptual Background to Gold Crown Imagery in the Apocalypse of John (four:iv, 10; 14:14)". Journal of Biblical Literature. 114 (2): 257–272. doi:x.2307/3266939. ISSN 0021-9231. JSTOR 3266939.
  8. ^ Sali, Due south. A. "Daimabad : 1976–79". INDIAN Civilisation. p. 499. Retrieved 12 August 2020.
  9. ^ a b c "Metropolitan Museum of Art: Art of South Asia" (PDF). metmuseum.org.
  10. ^ including the Qianlong Emperor – run across annotation beneath. Rhie, Marylin and Thurman, Robert (eds):Wisdom And Compassion: The Sacred Fine art of Tibet, p. 99, & passim, 2000, 1991, ISBN 0-8109-2526-5
  11. ^ Rhie and Thurman, pp 77, 176, 197 etc.
  12. ^ Gopinatha Rao, T. A. (1985). Elements of Hindu Iconography. pp. 31–32. Motilal Banarsidass. ISBN 9788120808782
  13. ^ No doubt, as afterwards, the same motif appeared in paintings, merely none survive from this early on. L Sickman & A Soper, "The Art and Architecture of China", Pelican History of Art, 3rd ed 1971, pp. 86–7, Penguin (now Yale History of Art), LOC 70-125675
  14. ^ Often in paintings from the Dunhuang caves, come across Anne Farrer (ed), "Caves of the Thousand Buddhas", 1990, British Museum publications, nos 42, 53, 54 etc, ISBN 0-7141-1447-2
  15. ^ Rhie and Thurman, p. 161
  16. ^ Run across Didron
  17. ^ Crill & Jariwala, 29 and note
  18. ^ Such every bit the Qianlong Emperor the Qianlong Emperor in Buddhist Dress, and his father.
  19. ^ The ring of fire is ascribed other meanings in many accounts of the iconography of the Nataraja, merely many other types of statue take similar aureoles, and their origin every bit such is clear.
  20. ^ Ramsden, E. H. (1941). "The Halo: A Farther Enquiry into Its Origin". The Burlington Mag for Connoisseurs. 78 (457): 123–131. JSTOR 868232.
  21. ^ Illustrated.
  22. ^ "Illustration". Archived from the original on 8 July 2008.
  23. ^ Initially just dead and therefore deified Emperors were haloed, later the living Cosmic Encyclopedia
  24. ^ "CATHOLIC ENCYCLOPEDIA: Nimbus". www.newadvent.org.
  25. ^ According to the 1967 New Catholic Encyclopedia, a standard library reference, in an article on Constantine the Corking: "Besides, the Sol Invictus had been adopted by the Christians in a Christian sense, as demonstrated in the Christ as Apollo-Helios in a mausoleum (c. 250) discovered beneath St. Peter'southward in the Vatican."
  26. ^ G Schiller, Iconography of Christian Art, Vol. I, 1971 (English trans. from German language), Lund Humphries, London, p. 135, figs 150-53, 346–54. ISBN 0-85331-270-2
  27. ^ "Early Christian Symbols" (PDF). Catholic Biblical Association of Canada. Archived from the original (PDF) on 23 December 2011. Retrieved twenty September 2011.
  28. ^ Grand Schiller, Iconography of Christian Art, Vol. I, 1971 (English trans. from German), Lund Humphries, London, figs 20–22, ISBN 0-85331-270-2
  29. ^ Nationalgallery.org.britain Archived 23 April 2007 at the Wayback Machine, Late 15th century reliefs past Jacopo della Quercia on the portal of San Petronio, Bologna are an early example of the triangular halo. According to Didron, Adolphe Napoléon: Christian Iconography: Or, The History of Christian Art in the Middle Ages, London, 1851, Vol 2, p30, this is "extremely rare in France, but common plenty in Italy and Hellenic republic
  30. ^ Didron, Vol two, pp. 68–71
  31. ^ The stardom is observed in the Christ Glorified in the Court of Heaven (1423–4) by Fra Angelico, National Gallery, London, where only the beatified saints at the edges take radiating linear haloes.
  32. ^ merely in Italy, according to Didron, Vol 2 p. 79.
  33. ^ come across Didron, Vol ii p. 79 and Dodwell, C.R.; The Pictorial arts of the W, 800–1200, 1993, Yale Upwards, ISBN 0-300-06493-4, p. 170
  34. ^ Johannes Diaconus gives the reason: circa verticem tabulae similitudinem, quod viventis insigne est, preferens, non-coronam ("bearing around his head the likeness of a foursquare, which is the sign for a living person, and not a crown") (Migne, Pat. Lat. 75, 231). The deacon of Rome was unaware of the Eastern tradition of depicting the emperor with a halo. Surviving examples are rare, and seem to be condign rarer; Bishop Ecclesius has a clear ane in older photos of the mosaics in San Vitale, Ravenna, which appears to accept been removed in recent restoration Cupola of the choir – come across: James Hall, A History of Ideas and Images in Italian Fine art, p100 & photo p. 93, 1983, John Murray, London, ISBN 0-7195-3971-iv. Other surviving examples are Pope Hadrian I in a landscape formerly in Santa Prassede, Rome, donor figures in the church building at Saint Catherine's Monastery and 2 more Roman examples – items 3 and 5 Archived thirty June 2007 at the Wayback Machine, one of Paschal's female parent, the rather mysterious Episcopa Theodora. see also: Fisher, Sally. The Foursquare Halo and Other Mysteries of Western Art: Images and the Stories that Inspired Them. Edited by Harriet Whelchel, Harry N Abrams, Inc., 1995
  35. ^ Becklectic, made by photographer. "Joshua. Fresco from the Dura Europos synagogue (Jewish Art, ed. Cecil Roth, Tel Aviv: Massadah Press, 1961, cols. 203–204: "Joshua")" – via Wikimedia Commons.
  36. ^ Every bit in the frescoes by the workshop of Giotto in the lower church at Assisi. James Hall, A History of Ideas and Images in Italian Fine art, p202, 1983, John Murray, London, ISBN 0-7195-3971-four
  37. ^ Didron, Vol 2, pp. 107–126
  38. ^ Robin Margaret Jensen, Understanding Early Christian Fine art, p. 112, 2000, Routledge, ISBN 0-415-20454-ii
  39. ^ Tait, Hugh. Catalogue of the Waddesdon Bequest in the British Museum, p. 43, 1986, British Museum Press, ISBN 978-0-7141-0525-three
  40. ^ Haloes were too often added by afterward dealers and restorers to such works, and indeed sometimes used to convert portraits into "saints". Intentional Alterations of Early Netherlandish Painting, Metropolitan Museum
  41. ^ If not their identity. The painting has been partly repainted, and the current appearance may not be the original one. Vienna Perugino
  42. ^ Tate. "'Saint Stephen', Sir John Everett Millais, Bt, 1895 – Tate". tate.org.uk.
  43. ^ Notes on Castelseprio (1957) in Meyer Schapiro, Selected Papers, book 3, p117, Late Antique, Early Christian and Mediaeval Art, 1980, Chatto & Windus, London, ISBN 0-7011-2514-4
  44. ^ OED original edition for "glory", "gloriole" and "halo".
  45. ^ OED original edition for "nimbus" etc.
  46. ^ OED original edition for "aureole".
  47. ^ For example by Sickman and Soper, op. cit.
  48. ^ Concise Oxford Lexicon, 1995, and Collins English language Dictionary.
  49. ^ op & pages cit. The Catholic Encyclopedia of 1911 (link higher up) has a further set of meanings for these terms, including glory.

References [edit]

  • Aster, Shawn Zelig, The Unbeatable Light: Melammu and Its Biblical Parallels, Change Orient und Altes Testament vol. 384 (Münster), 2012, ISBN 978-3-86835-051-seven
  • Crill, Rosemary, and Jariwala, Kapil. The Indian Portrait, 1560–1860, National Portrait Gallery, London, 2010, ISBN 978-i-85514-409-5
  • Didron, Adolphe Napoléon, Christian Iconography: Or, The History of Christian Art in the Middle Ages, Translated by Ellen J. Millington, H. G. Bohn, (Original from Harvard University, Digitized for Google Books) – Volume I, Part I (pp. 25–165) is concerned with the halo in its different forms, though the book is not up to date.
  • Dodwell, C. R., The Pictorial arts of the W, 800–1200, 1993, Yale UP, ISBN 0-300-06493-4
  • Rhie, Marylin and Thurman, Robert (eds.): Wisdom And Compassion: The Sacred Art of Tibet, 1991, ISBN 0-8109-2526-5
  • Schiller, Gertrud, Iconography of Christian Fine art, Vol. I, 1971 (English language trans from German), Lund Humphries, London, ISBN 0-85331-270-ii

Further reading [edit]

  • Ainsworth, Maryan W., "Intentional Alterations of Early Netherlandish Paintings", Metropolitan Museum Journal, Vol. 40, Essays in Memory of John Yard. Brealey (2005), pp. 51–65, 10, University of Chicago Printing on behalf of The Metropolitan Museum of Art, JSTOR 20320643 – on the later improver and removal of halos

External links [edit]

  • Article on some early on Japanese Buddhist haloes
  • The Halos in Taoist, Buddhist, Christian, Hindu, Islam, Greek and Roman images

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Source: https://en.wikipedia.org/wiki/Halo_%28religious_iconography%29

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