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Religious Images Gallery

Choose from 41 images in our Religious Images collection.


The Holy Trinity, 1420s (tempera on panel) (for copy see 40956) Featured Religious Images Image

The Holy Trinity, 1420s (tempera on panel) (for copy see 40956)

BAL39517 The Holy Trinity, 1420s (tempera on panel) (for copy see 40956) by Rublev, Andrei (c.1370-1430); 142x114 cm; Tretyakov Gallery, Moscow, Russia; Russian, out of copyright

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The Trinity, c. 1620. Creator: Hendrik van Balen (Flemish, 1575-1632) Featured Religious Images Image

The Trinity, c. 1620. Creator: Hendrik van Balen (Flemish, 1575-1632)

The Trinity, c. 1620. This vividly coloured altarpiece was made in Antwerp, the center of religious learning in Catholic Flanders. In the mid-1500s when the Catholic Church mounted a defense against the spread of Protestant reforms, known as the Counter-Reformation, it encouraged the production of religious images that promoted Catholic doctrine, offering opportunities for artists like Rubens, Van Dyck, and Van Balen. Van Balen's painting depicts the traditional theme of the Trinity, with God the Father holding the dead Christ and the dove of the Holy Spirit hovering above. Unusually, God wears the purple papal tiara, intended to emphasize the pope's role as God's true representative on earth. Encircling the figures of the Trinity are angels holding the instruments of Christ's Passion. On the clasp of God's elaborate cape is a small figure of Saint Barbara, perhaps a clue to the original location of the work in a chapel dedicated to her

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Eleven-Headed Deity of Compassion (Juichimen Kannon), 13th century. Creator: Unknown Featured Religious Images Image

Eleven-Headed Deity of Compassion (Juichimen Kannon), 13th century. Creator: Unknown

Eleven-Headed Deity of Compassion (Juichimen Kannon), 13th century. The Eleven-Headed Kannon, a deity of mercy and compassion in the Buddhist pantheon, was introduced into Japan in the 600s. By the 700s it had gained in popularity among an increasing number of believers, a condition it enjoyed until the end of the Kamakura period. The modest size and high quality of the materials apparent in this work indicate its use as a private devotional image. An earlier restoration of this painting included the use of an entire silk backing layer rather than silk patches with a paper backing. The tension that resulted between these two layers of silk, one old and the other recent, caused serious cracking to occur in the painting's surface. Moreover, the silk backing had been dyed a dark tone which did not enhance the appearance of the painting, although it did help hide damaged areas in the surface silk. Now two layers of backing paper support the painting, with its carefully fitted silk patches. These are toned slightly differently from the original surface values so that viewers can distinguish between the original and the modern restored areas. The original metal fittings have also been cleaned and reused. Other replacement fittings were deemed inappropriate for this early religious image and so new, specially designed ones are now in place

© Heritage Art/Heritage Images