the last supper (image)

Click here to see the image in higher resolution.

Willy Wiedmann, the artist, commented on this picture: “In spite of some difficulty, and unlike Leonardo da Vinci [see here ] I did not set my last supper in a theatrical scene with Jesus in the center behind an elongated table with all the disciples, with two at each end so that that there are 11 seated behind the table. And not like the panel by Juan de Juanes (1623-79) [see here ] in which the six disciples left and right are very dynamic figures. And also not like Martin Schongauer’s Last Supper [see here ] with a slightly shorter table (also incidentally very similar to Juanes in the attitudes of the figures) and two figures seen from the back in the foreground of the panel. Instead I have given the Master the middle place to the foreground, with his back to us to finally leave the controversial Jesus-existential questions unanswered. Slightly symbolically it means that he is leaving his world. The iris color is meant to transfer the rainbow to Jesus, that God once linked to Noah (my kingdom is not of this world). I attempted to present answers that correspond to the characters of each individual.”

Image and text taken from the Wiedmann Bible. For more information about the images and ways to adopt them, see here .

For other images of Willy Wiedmann paintings in TIPs, see here.

 

Painting by Wang Suda 王肅達 (1910-1963),
Copyright by the Catholic University Peking, China.

Text under painting translated from Literary Chinese into English:

Beginning of the Holy Communion
You have this as food and this is my body.

Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.

 

Acrylic on canvas painting by Hanna-Cheriyan Varghese, used with permission by the Overseas Ministries Study Center (OMSC) at Princeton Theological Seminary. You can purchase this and many other artworks by artists in residence at the OSMC in high resolution and without a watermark via the OSMC website .

“Hanna-Cheriyan Varghese (1938 – 2009) of Selangor, Malaysia, was the artist in residence at OMSC for the 2006–2007 academic year. She was born to Christian parents, and she remembered her mother taking her to a different worship service every week: ‘My parents encouraged me to attend different churches so that my siblings and I would appreciate the liturgy and traditions of the Christian believers of different denominations. Christians are a minority in Malaysia so we continue to struggle for our identity in a Muslim society. There is no open conflict as such.’

“She always had a passion for painting and drawing. She worked in the mediums of acrylic paint and Batik dye.

“‘All creative work, be it the spoken word, the written word or the sung word, are essentials in praise and worship, meditation, education, inculturation and evangelism. This also includes art and pictures, which is universal seeing.’ Hanna Varghese.” (Source )

See also the last supper (icon) and We All are One in Christ.

Jesus Washes His Disciples’ Feet


Click here to see the image in higher resolution.

Image taken from the Wiedmann Bible. For more information about the images and ways to adopt them, see here .

For other images of Willy Wiedmann paintings in TIPs, see here.

Following is a contemporary tempera/gouache on leather painting by an unknown Ethiopian artist:

Source: Sacred Art Pilgrim website .

Following is a painting by Chen Yuandu 陳緣督 (1902–1967):

Image is housed in the Société des Auxiliaires des Missions Collection – Whitworth University and taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.

Following is a painting by Ketut Lasia (b. 1945):

Ketut Lasia is one of the last traditional Balinese painters in the Ubud style. As an adult, Lasia converted from Hinduism to Christianity, and he paints primarily biblical scenes. You can find artwork from Ketut Lasia in a variety of formats for sale at Fine Art America .

See also Wash Each Other’s Feet.

presentation in the temple

This is a contemporary tempera/gouache on leather painting by an unknown Ethiopian artist. Source: Sacred Art Pilgrim website .

Following is a painting by Chen Yuandu 陳緣督 (1902–1967):

Housed in the Société des Auxiliaires des Missions Collection – Whitworth University.

Image taken from Chinese Christian Posters . For more information on the “Ars Sacra Pekinensis” school of art, see this article , for other artworks of that school in TIPs, see here.

The following is a stained glass window from the Three choir windows in the Marienkirche, Frankfurt (Oder), Germany, of the 14th century:

Source: Der gläserne Schatz: Die Bilderbibel der St. Marienkirche in Frankfurt (Oder), Neuer Berlin Verlag, 2005, copyright for this image: Brandenburgisches Landesamt für Denkmalpflege und Archäologisches Landesmuseum

Stained glass is not just highly decorative, it’s a medium which has been used to express important religious messages for centuries. Literacy was not widespread in the medieval and Renaissance periods and the Church used stained glass and other artworks to teach the central beliefs of Christianity. In Gothic churches, the windows were filled with extensive narrative scenes in stained glass — like huge and colorful picture storybooks — in which worshipers could ‘read’ the stories of Christ and the saints and learn what was required for their religious salvation. (Source: Victoria and Albert Museum )

See also other stained glass windows from the Marienkirche in Frankfurt.

the last supper (icon)

Following is a contemporary Ukrainian Orthodox icon of the last supper by Ulyana Tomkevych.

 

Orthodox Icons are not drawings or creations of imagination. They are in fact writings of things not of this world. Icons can represent our Lord Jesus Christ, the Virgin Mary, and the Saints. They can also represent the Holy Trinity, Angels, the Heavenly hosts, and even events. Orthodox icons, unlike Western pictures, change the perspective and form of the image so that it is not naturalistic. This is done so that we can look beyond appearances of the world, and instead look to the spiritual truth of the holy person or event. (Source )