iconography

After the recapture of the city, the Emperor granted General Schwarzenberg a new coat of arms: a raven (Rabe) feasting on a fallen Ottoman defender of Győr (Raab)

The cosmopolitan Artsrunis—equally versed in Armenian, Georgian, Mongol, and Catholic cultures—adopted the newest iconographic trend, that of Western Catholic art, which at the time also represented the elite artistic language of both the Cilician Armenian royal court and the Mongol khan’s court

In this post I analyse the complex iconography of one of the outstanding monuments of the golden age of Armenian art in the 12th–13th centuries, where sophisticated Armenian theological thought, pre-Christian motifs, and Persian artistic influences are all interwoven

What could the Good Shepherd motif have meant to early Christians, if they so frequently chose it as a single or prominent image above their final resting place?

The most widespread Russian type of Hagia Sophia stems from a pious misunderstanding, depicting Hagia Sophia as “Saint Sophia” accompanied by her three daughters, Vera, Nadezhda, and Lyubov

Beneath each scene of the Creation and the episodes of first men’s story, are four quadrilobe panels with four grotesque creatures, on each of the twice ten pillars