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Home / A Halo Signifies Divinity in Both Hindu and Christian Religious Art Quizlet

A Halo Signifies Divinity in Both Hindu and Christian Religious Art Quizlet

A halo (from Greek ἅλως, halōs;[i] likewise known as a nimbus, aureole, glory, or gloriole) is a ring of light that surrounds a person in art. They have been used in the iconography of many religions to bespeak holy or sacred figures, and have at diverse periods also been used in images of rulers or heroes. In the sacred art of Ancient Hellenic republic, Ancient Rome, Hinduism, Buddhism, Islam and Christianity, among other religions, sacred persons may be depicted with a halo in the grade of a round glow, or in Asian fine art flames, effectually the head, or around the whole body, this terminal oftentimes called a mandorla. Halos may be shown as near any color, just as they represent light are most ofttimes depicted as gilt, yellow, white, or red when flames are depicted.

Contents

  • 1 Ancient Greek world
  • 2 In Asian art
  • 3 Gallery - Egypt and Asia
  • four In Roman fine art
  • five In Christian art
    • v.1 Decline of the halo
  • half-dozen Spiritual Significance in Christianity
  • 7 Gallery - Christian fine art
  • 8 Origins and usage of the unlike terms
  • ix See also
  • 10 Notes
  • 11 References
  • 12 Farther reading
  • thirteen External links

Aboriginal Greek world

Homer describes a more-than-natural light around the heads of heroes in battle.[2] Depictions of Perseus in the human activity of slaying Medusa, with lines radiating from his head, appear on a white-footing toiletry box in the Louvre and on a slightly later cherry-red-figured vase in the way of Polygnotos, ca. 450-30 BC, in the Metropolitan Museum of Art.[3] On painted wares from south Italia radiant lines or unproblematic haloes appear on a range of mythic figures: Lyssa, a personification of madness; a sphinx; a sea demon; and Thetis, the body of water-nymph who was mother to Achilles.[iv] The Colossus of Rhodes was a statue of the sun-god Helios and had his usual radiate crown (copied for the Statue of Liberty). Hellenistic rulers are oft shown wearing radiate crowns that seem clearly to imitate this upshot.[ citation needed ]

Farther afield, Sumerian religious literature oftentimes 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 great holiness and by gods' symbols and emblems."[5]

In Asian fine art

The halo and the aureola accept been widely used in Indian art, particularly in Buddhist iconography[6] where information technology has appeared since at to the lowest degree the 1st century AD; the Kushan Bimaran catafalque in the British Museum is dated 60AD (at least between 30BC and 200AD). The rulers of the Kushan Empire were perhaps the earliest to give themselves haloes on their coins, and the nimbus in fine art may take originated in Fundamental Asia and spread both east and westward.[6] In Chinese and Japanese Buddhist fine art the halo has also been used since the primeval periods in depicting the prototype 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 every bit Milarepa and Padmasambhava and deities. Dissimilar coloured haloes have specific meanings: orangish for monks, greenish for the Buddha and other more than elevated beings,[7] and ordinarily figures have both a halo for the head, and another circular 1 for the trunk, the ii oftentimes intersecting somewhere around the head or cervix. Thin lines of aureate oft radiate outwards or inwards from the rim of the halo, and sometimes a whole halo is made upwards of these.[8] Elaborate haloes and specially aureoles also appear in Hindu sculpture, where they tend to develop into architectural frames in which the original thought can be difficult to recognise. Theravada Buddhism and Jainism did not use the halo for many centuries, but later adopted information technology, though less thoroughly than other religious groups.

In Asian art, the nimbus is often imagined equally consisting not only of calorie-free, simply of flames. This type seems to first appear in Chinese bronzes of which the earliest surviving examples appointment from earlier 450.[nine] The depiction of the flames may be very formalized, every bit in the regular footling 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 fume, shown rise to a top backside many Tibetan Buddhist depictions of the "wrathful aspect" of divinities, and likewise in Farsi miniatures of the classic menses. This blazon is also very rarely institute, and on a smaller scale, in medieval Christian fine art.[x] Sometimes a sparse line of flames ascension upwards from the edges of a circular halo in Buddhist examples.[11] In Tibetan paintings the flames are often shown as blown past a wind, usually from left to right.[12]

Halos are found in Islamic art from diverse places and periods, specially in Persian miniatures and Moghul and Ottoman art influenced past them. Flaming halos derived from Buddhist fine art surroundings angels, and similar ones are often seen effectually 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;[half-dozen] despite the more local precedents art historians believe the Mughals took the motif from European religious art, though it expresses a Western farsi idea of the God-given charisma of kingship that is far older.[13] The Ottomans avoided using halos for the sultans, despite their title as Caliph, and they are but seen on Chinese emperors if they are posing every bit Buddhist religious figures, as some felt entitled to do.[xiv]

Gallery - Egypt and Asia

  • Ra with solar disc, earlier 1235 BC

  • Hindu figure, 11th century

In Roman fine art

The halo represents an aura or glow of sanctity which was conventionally fatigued encircling the caput. It first appeared in the culture of Hellenistic Greece and Rome, possibly related to the Zoroastrian hvarena - "glory" or "divine lustre" - which marked the Persian kings, and may accept been imported with Mithraism. Though Roman paintings have largely disappeared, save some fresco decorations, the haloed figure remains fresh in Roman mosaics. In a second-century AD Roman floor mosaic preserved at Bardo, Tunisia,[16] a haloed Poseidon appears in his chariot drawn by hippocamps. Significantly, the triton and nereid who accompany the sea-god are not haloed.

In a late 2nd century AD floor mosaic from Thysdrus, El Djem, (illustration) Apollo Helios is identified by his beaming halo. Another haloed Apollo in mosaic, from Hadrumentum, is in the museum at Sousse.[17] The conventions of this representation, head tilted, lips slightly parted, large-eyed, curling hair cut in locks grazing the neck, were adult in the 3rd century BC to depict Alexander the Smashing (Bieber 1964; Yalouris 1980). Some time later this mosaic was executed, the Emperor began to be depicted with a halo,[18] which was not abandoned when they became Christian; initially Christ simply had 1 when shown on a throne as Christ in Majesty.[19]

In Christian art

The halo was incorporated into Early Christian art sometime in the 4th century with the primeval iconic images of Christ, initially the only figure shown with 1 (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 by John he tends non to exist shown with a halo, it being a matter of debate whether his Logos was innate from birth (the Orthodox view), or acquired at Baptism (the Nestorian view). At this menstruum he is also shown as a child or youth in Baptisms, though this may be a hieratic rather than age-related representation [21]

A cruciform halo, that is to say a cantankerous within, or extending beyond, a halo is used to represent the persons of the Holy Trinity, especially Jesus, and especially in medieval art. In Byzantine and Orthodox images, inside each of the bars of the cross in Christ'southward halo is one of the Greek letters Ο Ω Ν, making up ὁ ὢν — "ho ōn", literally, "the Existing One" — indicating the divinity of Jesus.[22] At least in subsequently Orthodox images, each bar of this cross is composed 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 head in the radius of the nimbus, or placed to a higher place the radius, but this is unusual. In the aforementioned mosaics the accompanying angels take haloes (as, in a continuation of the Imperial tradition, does King Herod), just not 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 plain haloes, as do the Ancestors of Christ in other miniatures).[23]

Later, triangular haloes are sometimes given to God the Begetter to represent the Trinity.[24] When he is represented by a hand emerging from a cloud, this may be given a halo.

Plain round haloes are typically used to signify saints, the Virgin Mary, Old Attestation prophets, angels, symbols of the Four Evangelists, and another figures. Byzantine emperors and empresses were often shown with them in compositions including saints or Christ, however the haloes were outlined only. This was copied by Ottonian and later Russian rulers. Old Testament figures become less likely to accept haloes in the Due west as the Center Ages go along.[25]

Beatified figures, not however canonised as saints, are sometimes shown in medieval Italian art with linear rays radiating out from the head, but no circular edge of the nimbus defined; subsequently this became a less obtrusive grade of halo that could be used for all figures.[26] Mary has, particularly from the Baroque period onwards, a special form of halo in a circle of stars, derived from her identification as the Woman of the Apocalypse.

Foursquare haloes were sometimes used for the living in donor portraits of about 500-1100 in Italy;[27] Pope Gregory the Corking had himself depicted with ane, co-ordinate to the 9th-century writer of his vita, John, deacon of Rome.[28] A figure who may represent Moses in the 3rd century Dura Europos Synagogue has one, where no round halos are found.[29] Personifications of the Virtues are sometimes given hexagonal haloes.[thirty] Scalloped haloes, sometimes simply appearing as fabricated of radiating bars, are institute in the manuscripts of the Carolingian "Ada Schoolhouse", such equally the Ada Gospels.

The whole-trunk image of radiance is sometimes called the 'aureole' or glory; information technology is shown radiating from all circular the torso, most frequently of Christ or Mary, occasionally of saints (especially those reported to have been seen surrounded past one). Such an aureola is often a mandorla ("almond-shaped" vesica piscis), especially around Christ in Majesty, who may well have a halo besides. In depictions of the Transfiguration a more complicated shape is oft seen, especially in the Eastern Orthodox tradition, equally in the famous 15th century icon in the Tretyakov Gallery in Moscow.[31]

Where gold is used as a background in miniatures, mosaics and console paintings, the halo is often formed by inscribing lines in the gold leaf, and may exist decorated in patterns (diapering) within the outer radius, and thus becomes much less prominent. The aureate foliage inside the halo may also exist burnished in a circular style, so every bit to produce the effect of calorie-free radiating out from the subject'southward head. In the early centuries of its utilise, the Christian halo may be in most colours (though black is reserved for Judas, Satan and other evil figures) or multicoloured; later on gilt becomes standard, and if the entire background is non gold leaf, the halo itself normally will exist.[32]

Pass up of the halo

With increasing realism in painting, the halo came to exist a problem for artists. So long as they connected to employ the erstwhile compositional formulae which had been worked out to adjust haloes, the problems were manageable, but as Western artists sought more flexibility in composition, this ceased to be the case. In complimentary-continuing medieval sculpture, the halo was already shown as a flat deejay above or behind the caput. When perspective came to be considered essential, painters as well changed the halo from an aura surrounding the head, e'er depicted as though seen full-on, to a flat golden disk or band that appeared in perspective, floating above the heads of the saints, or vertically behind, sometimes transparent. This can be seen kickoff in Giotto, who still gives Christ the cruciform halo which began to exist phased out by his successors. In northern Europe the radiant halo, made up of rays like a sunburst, came into style in French painting around the end of the 14th century.[33]

In the early on 15th century Jan van Eyck and Robert Campin largely abased their use, although some other Early on Netherlandish artists continued to use them.[34] In Italy at around the aforementioned time, Pisanello used them if they did not clash with one of the enormous hats he liked to paint. Generally they lasted longer in Italian republic, although oftentimes 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 as far equally haloes are concerned, and some of his paintings demonstrate the problems well, as in several of his more crowded compositions, where they are shown as solid gold disks on the same airplane equally the moving picture surface, it becomes difficult to preclude them obstructing other figures. At the aforementioned time they were useful in crowded narrative scenes for distinguishing the main, 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, who the viewer knows they are not meant to attach a specific identity to. In the same way, a Baptism of Christ by Perugino in Vienna gives neither Christ nor John the Baptist haloes, but a saint in the background, not usually present in this scene, has a ring halo to denote his condition.[35]

In the Loftier Renaissance, even most Italian painters dispensed with haloes altogether, but in the Church'due south reaction to the Renaissance, that culminated in the decrees on images of the Council of Trent of 1563, their apply was mandated by clerical writers on religious art such as Molanus and Saint Carlo Borromeo. Figures were placed where natural light sources would highlight their heads, or instead more discreet quasi-naturalistic flickering or glowing light was shown around the head of Christ and other figures (perhaps pioneered past Titian in his late period). Rembrandt'due south etchings, for example, evidence a variety of solutions of all of these types, equally well equally a majority with no halo upshot at all. The disk halo was rarely used for figures from classical mythology in the Renaissance, although they are sometimes seen, particularly in the classical radiant course, in Mannerist and Baroque fine art.

By the 19th century haloes have become unusual in Western mainstream art, although retained in iconic and pop images, and sometimes as a medievalising upshot. When John Millais gives his otherwise realist St Stephen (1895) a ring halo, it seems rather surprising.[36] In pop graphic culture, a uncomplicated ring has become the predominant representation of a halo since at least the late 19th century, as seen for instance in the logo for the Simon Templar ("The Saint") series of novels and other adaptations.

Spiritual Significance in Christianity

The early Church Fathers expended much rhetorical energy on conceptions of God as a source of calorie-free; among other things this was because "in the controversies in the quaternary century over the consubstantiality of the Father and the Son, the relation of the ray to the source was the most cogent example of emanation and of distinct forms with a common substance" - primal concepts in the theological idea of the time.[37]

A more than Catholic interpretation, less dualistic in its assumptions, is that the halo represents the light 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 tin be seen and communicated with. The gold background of the icon indicates that what is depicted is in sky. The halo is a symbol of the Uncreated Light (Greek: Ἄκτιστον Φῶς) or grace of God shining along through the icon. Pseudo-Dionysius the Areopagite in his Celestial Hierarchies speaks of the angels and saints being illuminated by the grace of God, and in plough illumining others.

Gallery - Christian art

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

  • The risen Christ appearing to the Eleven (Luke 24,36-49) from Duccio's Maestà. Christ has a evidently halo; the Apostles only accept them where they will non seriously interfere with the composition.

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

  • Mary above has a large 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 non. Jesus nevertheless has a cruciform halo.

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

Origins and usage of the unlike terms

The distinction between the alternative terms in English is rather unclear. The oldest term in English language is "glory", the simply 1 available in the Middle Ages, but at present largely obsolete. It came from the French "gloire" which has much the aforementioned range of meanings as "celebrity". "Gloriole" does not announced in this sense until 1844, existence a modern invention, as a diminutive, in French also. "Halo" is first found in English in this sense in 1646 (nearly a century after the optical or astronomical sense). Both "halos" and "haloes" may exist used as plural forms, and halo may exist used as a verb.[38] Halo comes originally from the Greek for "threshing-floor" - a round, slightly sloping area kept very make clean, around which slaves or oxen walked to thresh the grain. In Greek this came to mean the divine bright disk.

Nimbus means a cloud in Latin, and is institute as a divine cloud in 1616, whereas as "a vivid or gilded disk surrounding the head" it does not announced until 1727. The plural "nimbi" is correct but "rare"; "nimbuses" is not in the OED simply sometimes used. "Nimb" is an obsolete form of the noun, simply not a verb, except that the obsolete "nimbated", like the commoner "nimbate", ways "furnished with a nimbus". It is sometimes preferred by fine art-historians, every bit sounding more technical than halo.[39]

"Aureole", from the Latin for "aureate", has been used in English equally a term for a gilded crown, especially that traditionally considered the reward of martyrs, since the Centre Ages (OED 1220). But the first utilise recorded every bit a term for a halo is in 1848, very shortly 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 Heart Ages. This, by what the OED calls a "strange corrigendum", derived the word from the Latin "aura" as a diminutive, and as well defined it as significant a halo or glory covering the whole body, whilst saying that "nimbus" referred only to a halo round 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 information technology had already been picked upwards past several English dictionaries, and influenced usage in English, which nonetheless seems to exist the case, as the word "nimbus" is by and large establish describing whole-body haloes, and seems to take likewise influenced "gloriole" in the same direction.[40]

The only English term that unequivocally means a total-body halo, and cannot be used for a circular disk round the caput is "mandorla", kickoff occurring in 1883. Notwithstanding, this term, which is the Italian word for "almond", is commonly reserved for the vesica piscis shape, at least in describing Christian fine art. In discussing Asian art, information technology is used more widely.[41] Otherwise there could exist said to be an excess of words that could refer to either a head-disk or a full-body halo, and no word that clearly denotes a total-body halo that is not vesica piscis shaped. "Halo" past itself, according to recent dictionaries,[42] ways merely a circle around the head, although Rhie and Thurman utilise the word also for circular full-body aureoles.[43]

Run across too

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

Notes

  1. ↑ Harper, Douglas. "halo". Online Etymology Lexicon.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles> ἅλως. Liddell, Henry George; Scott, Robert; A Greek–English language Lexicon at the Perseus Project.
  2. ↑ Iliad v.4ff, xviii.203ff.
  3. ↑ Marjorie J. Milne, "Perseus and Medusa on an Attic Vase" The Metropolitan Museum of Art Bulletin New Series, 4.5 (Jan 1946, pp. 126-130) 126.p.) JSTOR 3257993
  4. ↑ L. Stephani, Nimbus und Strahlenkranz in den Werken der Alten Kunst" in Mémoires de fifty'Académie des Sciences de Saint-Petersbourg, series vi, vol. vol nine, noted in Milne 1946:130.
  5. ↑ J. Black and A. Dark-green, Gods, Demons and Symbols of Ancient Mesopotmia (Austin, 1992) p. 130.
  6. ↑ vi.0 half-dozen.1 half-dozen.ii Metropolitan Museum of Art: Art of South Asia
  7. ↑ including the Qianlong Emperor - see note beneath. Rhie, Marylin and Thurman, Robert (eds):Wisdom And Compassion: The Sacred Art of Tibet, p. 99, & passim, 2000, 1991, ISBN 0-8109-2526-5
  8. ↑ Rhie and Thurman, pp 77, 176, 197 etc.
  9. ↑ No doubt, every bit later, the same motif appeared in paintings, but none survive from this early. 50 Sickman & A Soper, "The Fine art and Architecture of Red china", Pelican History of Art, tertiary ed 1971, pp 86-7, Penguin (now Yale History of Art), LOC 70-125675
  10. ↑ Run across Didron
  11. ↑ Oftentimes in paintings from the Dunhuang caves, see Anne Farrer (ed), "Caves of the K Buddhas" , 1990, British Museum publications, nos 42, 53, 54 etc, ISBN 0-7141-1447-2
  12. ↑ Rhie and Thurman, p.161
  13. ↑ Crill & Jariwala, 29 and note
  14. ↑ Such as the Qianlong Emperor the Qianlong Emperor in Buddhist Dress, and his father.
  15. ↑ The ring of fire is ascribed other meanings in many accounts of the iconography of the Nataraja, simply many other types of statue take similar aureoles, and their origin as such is articulate.
  16. ↑ Illustrated.
  17. ↑ "Illustration".<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  18. ↑ Initially only dead and therefore deified Emperors were haloed, later the living Catholic Encyclopedia
  19. ↑ Catholic Encyclopedia
  20. ↑ According to the 1967 New Catholic Encyclopedia, a standard library reference, in an article on Constantine the Bang-up: "Too, the Sol Invictus had been adopted past the Christians in a Christian sense, as demonstrated in the Christ every bit Apollo-Helios in a mausoleum (c. 250) discovered beneath St. Peter's in the Vatican."
  21. ↑ G Schiller, Iconography of Christian Art, Vol. I,1971 (English trans from German), Lund Humphries, London, p 135, figs 150-53, 346-54. ISBN 0-85331-270-2
  22. ↑ "Early on Christian Symbols" (PDF). Cosmic Biblical Clan of Canada. Retrieved 20 September 2011.<templatestyles src="Module:Citation/CS1/styles.css"></templatestyles>
  23. ↑ G Schiller, Iconography of Christian Art, Vol. I,1971 (English trans from German), Lund Humphries, London, figs twenty-22, ISBN 0-85331-270-ii
  24. ↑ Nationalgallery.org.uk, Late 15th century reliefs by 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 ii, p30, this is "extremely rare in France, but mutual enough in Italy and Greece
  25. ↑ Didron, Vol 2, pp.68-71
  26. ↑ The distinction is observed in the Christ Glorified in the Court of Heaven (1423-four) past Fra Angelico, National Gallery, London, where only the beatified saints at the edges have radiating linear haloes.
  27. ↑ only in Italia, according to Didron, Vol two p.79. Most surviving ones are of Popes and others in mosaics in Rome, including the Episcopa Theodora caput of the mother of the Pope of the solar day. They seem just an indication of a gimmicky figure, as opposed to the saints ordinarily accompanying them, with no real implication of future canonization. A late case is of Desiderius, Abbot of Monte Cassino, subsequently Pope, from a manuscript of 1056-86; come across Dodwell, C.R.; The Pictorial arts of the Due west, 800-1200, 1993, Yale UP, ISBN 0-300-06493-four, p. 170
  28. ↑ Johannes Diaconus gives the reason: circa verticem tabulae similitudinem, quod viventis insigne est, preferens, non-coronam ("bearing around his head the likeness of a square, 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 becoming rarer; Bishop Ecclesius has a clear one in older photos of the mosaics in San Vitale, Ravenna, which appears to accept been removed in recent restoration Cupola of the choir - see: James Hall, A History of Ideas and Images in Italian Art, p100 & photo p.93, 1983, John Murray, London, ISBN 0-7195-3971-4. Other surviving examples are Pope Hadrian I in a mural formerly in Santa Prassede, Rome, donor figures in the church at Saint Catherine'southward Monastery (Queenscu.ca) and two more Roman examples - items 3 and v, i of Paschal's mother, the rather mysterious Episcopa Theodora.
  29. ↑ Prototype from Dura Europas
  30. ↑ 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-iv
  31. ↑ Didron, Vol 2, pp. 107-126
  32. ↑ Robin Margaret Jensen, Understanding Early Christian Art, p. 112, 2000, Routledge, ISBN 0-415-20454-2
  33. ↑ Tait, Hugh. Catalogue of the Waddesdon Heritance in the British Museum, p. 43, 1986, British Museum Press, ISBN 978-0-7141-0525-3
  34. ↑ Haloes were besides oftentimes added by later dealers and restorers to such works, and indeed sometimes used to convert portraits into "saints". Intentional Alterations of Early Netherlandish Painting, Metropolitan Museum
  35. ↑ If not their identity. The painting has been partly repainted, and the current advent may non be the original one. Vienna Perugino
  36. ↑ Tate Britain
  37. ↑ Notes on Castelseprio (1957) in Meyer Schapiro, Selected Papers, volume 3, p117, Late Antiquarian, Early Christian and Mediaeval Art, 1980, Chatto & Windus, London, ISBN 0-7011-2514-4
  38. ↑ OED original edition for "glory", "gloriole" and "halo".
  39. ↑ OED original edition for "nimbus" etc.
  40. ↑ OED original edition for "aureole".
  41. ↑ For instance by Sickman and Soper, op. cit.
  42. ↑ Curtailed Oxford Dictionary, 1995, and Collins English Dictionary.
  43. ↑ op & pages cit. The Catholic Encyclopedia of 1911 (link in a higher place) has a farther set of meanings for these terms, including glory.

References

  • Didron, Adolphe Napoléon, Christian Iconography: Or, The History of Christian Art in the Middle Ages, Translated by Ellen J. Millington, H. Chiliad. Bohn, (Original from Harvard University, Digitized for Google Books) - Volume I, Part I (pp. 25–165) is concerned with the halo in its dissimilar forms, though the book is not upwardly to engagement.
  • Crill, Rosemary, and Jariwala, Kapil. The Indian Portrait, 1560-1860, National Portrait Gallery, London, 2010, ISBN 978-1-85514-409-5
  • Dodwell, C.R.; The Pictorial arts of the West, 800-1200, 1993, Yale Upwardly, ISBN 0-300-06493-four
  • Rhie, Marylin and Thurman, Robert (eds):Wisdom And Compassion: The Sacred Fine art of Tibet, 1991, ISBN 0-8109-2526-five
  • Schiller, Gertrud, Iconography of Christian Fine art, Vol. I,1971 (English trans from German), Lund Humphries, London, ISBN 0-85331-270-2
  • Aster, Shawn Zelig, The Unbeatable Calorie-free. Melammu and Its Biblical Parallels, Alter Orient und Altes Testament vol. 384 (Münster), 2012, ISBN 978-3-86835-051-seven

Further reading

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

External links

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

makutzwhensinal.blogspot.com

Source: https://infogalactic.com/info/Halo_(religious_iconography)