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John 20:1

#marymagdelene #christ #christianity #newtestament #illustration #drawing #digital #holyweek #easter #eastersunday #sunday #heisrisen #biblicalart #christianart

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Finally, the Pharisees had their chance: Christ was arrested, trialed, and after the willing ignorance of the Romans, is to be crucified atop Calvary. The scene takes place after his beating, whipping and crufixion, as he hangs from the cross and everything in the sunny afternoon is engulfed in darkness. In front of the POV is a soldier, a Roman centurion, whose image, however, is blurrred. He looks up, shcoked as the sun seemingly stops shining in grief. Christ is behind him, dying. Yet he does not surrender. Soon he will breathe his last wind and the veil of the temple will tear.

Finally, the Pharisees had their chance: Christ was arrested, trialed, and after the willing ignorance of the Romans, is to be crucified atop Calvary. The scene takes place after his beating, whipping and crufixion, as he hangs from the cross and everything in the sunny afternoon is engulfed in darkness. In front of the POV is a soldier, a Roman centurion, whose image, however, is blurrred. He looks up, shcoked as the sun seemingly stops shining in grief. Christ is behind him, dying. Yet he does not surrender. Soon he will breathe his last wind and the veil of the temple will tear.

Luke 23:44

#JesusChrist #Heisrisen #biblicalart #illustration #newdrawingtablet #God #Christianart #Darkness #GoodFriday #Friday #HolyWeek #NewTestament #art

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Vertical symmetry sparkler painting in Infinite Painter. This painting is called The Lion of Judah is roaring. He's giving peace and relaxation. There's a person with blue eyes in the painting

Vertical symmetry sparkler painting in Infinite Painter. This painting is called The Lion of Judah is roaring. He's giving peace and relaxation. There's a person with blue eyes in the painting

Vertical symmetry sparkler painting in Infinite Painter. This painting is called The Lion of Judah is roaring. He's giving peace and relaxation. There's a person with blue eyes in the painting
#BiblicalArt #Biblical #InfinitePainter #Symmetry

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The POV of an Assyrian officer, as he lays inside his tent. A sudden, chilling quiet has befallen his once busy camp of 185,000 in the force besieging the Hebrew city. He awakes, slowly, groggily looking up at an intruder. The remainders of the campfire gently light smoke at the parted entrances through which the assailant has entered. There he stands, tall above his icon of Pazuzu, his Assyrian god, is the angel of the lord. Fire burns in his eyes: the Babylonian won’t be alive for long.

The POV of an Assyrian officer, as he lays inside his tent. A sudden, chilling quiet has befallen his once busy camp of 185,000 in the force besieging the Hebrew city. He awakes, slowly, groggily looking up at an intruder. The remainders of the campfire gently light smoke at the parted entrances through which the assailant has entered. There he stands, tall above his icon of Pazuzu, his Assyrian god, is the angel of the lord. Fire burns in his eyes: the Babylonian won’t be alive for long.

2 Kings 19:35
#Art #Illustration #DigitalArt #HorrorArt #BiblicalArt #Assyrian #Angel #HolyWeek #OldTestament #FigMonday #Christianity

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John 12:13. “They took branches of palm trees and went forth to meet him, and cried, Hosanna! Blessed is he who comes in the name of the Lord!”

Tonight I colorized a drawing of mine from 2017

#biblicalartwork #biblicalart
#palmsunday #Jesus #JesusChrist

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American artist Edwin Austin Abbey’s title points to the women associated with the Passion and Resurrection story, often understood in Christian mythology as the women who remained near Christ’s death and tomb. Yale’s record does not identify each figure by name, so the painting works less as portraiture than as a meditation on collective witness, lament, and endurance. The restrained palette and spare setting intensify that feeling: grief here is vast, exposed, and almost liturgical. 

The three women occupy a barren, open landscape under a pale yellow sky. All wear long black veils and dark robes that seemingly merge with the muted earth. At left, one woman kneels upright with her hands clasped tightly at her waist. Her face is lifted skywards, her lips red against otherwise cool, gray flesh tones, and her expression feels stunned, prayerful, and exhausted. At lower right, another kneels with her head bowed, lifting the edges of her veil with both hands as if gathering herself inward. Behind them, a third figure stands tall and nearly engulfed in black drapery, one hand raised toward her mouth in grief. Blue hills cut across the background in a low band, and the foreground is rocky, dry, and sparse. Their bodies are separated, yet their shared posture, dress, and solemn stillness bind them into a single field of mourning.

Mary (mother of Jesus), Mary Magdalene, (devoted follower and witness), and Mary of Clopas (mother of James) are remembered for remaining faithful during the Crucifixion and visiting Christ’s tomb after his burial.

Abbey, a Philadelphia-born artist who spent much of his career in England, was celebrated for large narrative and historical works. Rather than dramatizing action, he stages emotion through spacing, drapery, and silence. The three women become distinct forms of sorrow showing upright resolve, inward collapse, and shrouded contemplation while the empty landscape suggests the spiritual aftermath of loss.

American artist Edwin Austin Abbey’s title points to the women associated with the Passion and Resurrection story, often understood in Christian mythology as the women who remained near Christ’s death and tomb. Yale’s record does not identify each figure by name, so the painting works less as portraiture than as a meditation on collective witness, lament, and endurance. The restrained palette and spare setting intensify that feeling: grief here is vast, exposed, and almost liturgical. The three women occupy a barren, open landscape under a pale yellow sky. All wear long black veils and dark robes that seemingly merge with the muted earth. At left, one woman kneels upright with her hands clasped tightly at her waist. Her face is lifted skywards, her lips red against otherwise cool, gray flesh tones, and her expression feels stunned, prayerful, and exhausted. At lower right, another kneels with her head bowed, lifting the edges of her veil with both hands as if gathering herself inward. Behind them, a third figure stands tall and nearly engulfed in black drapery, one hand raised toward her mouth in grief. Blue hills cut across the background in a low band, and the foreground is rocky, dry, and sparse. Their bodies are separated, yet their shared posture, dress, and solemn stillness bind them into a single field of mourning. Mary (mother of Jesus), Mary Magdalene, (devoted follower and witness), and Mary of Clopas (mother of James) are remembered for remaining faithful during the Crucifixion and visiting Christ’s tomb after his burial. Abbey, a Philadelphia-born artist who spent much of his career in England, was celebrated for large narrative and historical works. Rather than dramatizing action, he stages emotion through spacing, drapery, and silence. The three women become distinct forms of sorrow showing upright resolve, inward collapse, and shrouded contemplation while the empty landscape suggests the spiritual aftermath of loss.

“The Three Marys” by Edwin Austin Abbey (American) - Oil on canvas / c. 1906–1911 - Yale University Art Gallery (New Haven, Connecticut) #WomenInArt #EdwinAustinAbbey #Abbey #YaleUniversityArtGallery #Yale #ReligiousArt #BiblicalArt #art #artText #arte #PortraitofWomen #AmericanArtist #AmericanArt

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Cool Gals Lazy Day Pg.20
Page 20 of Cool Gals. The Gals find Nerdy trapped in a cave, looking for a colotist for my other webcomjcs jf you don't charge too much reach out! 🐠 #art #oc #comics #catacombs #catacomb #horror #horrorart #biblicalart #web #webcomic #comic #liminalspaces #quackersdraws 🦆

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Dessin d’un preacher avec une tenue noire, blanche et avec un peu de rouge.
Les mains rouges, appartiennent à mon OC Kurdt.
Il a plein de bagues (dont certaines que j’ai vraiment irl).
Entre ses mains il y a un chapelet qui passe.

Dans le fond on a le décor intérieur d’une église avec un vitrail.

ENGLISH VERSION

Drawing of a preacher with a black, white outfit and with a little red.
The red hands belong to my OC Kurdt.
He has a lot of rings (some of which I really have irl).
In his hands there is a rosary that passes.

In the background we have the interior decor of a church with a stained glass window.

Dessin d’un preacher avec une tenue noire, blanche et avec un peu de rouge. Les mains rouges, appartiennent à mon OC Kurdt. Il a plein de bagues (dont certaines que j’ai vraiment irl). Entre ses mains il y a un chapelet qui passe. Dans le fond on a le décor intérieur d’une église avec un vitrail. ENGLISH VERSION Drawing of a preacher with a black, white outfit and with a little red. The red hands belong to my OC Kurdt. He has a lot of rings (some of which I really have irl). In his hands there is a rosary that passes. In the background we have the interior decor of a church with a stained glass window.

Premier dessin que je fais pour MOI depuis 1 an omg



First drawing I've been doing for ME for 1 year omg

[ #art #artsky #myart #punk #punksky #digitalart #drawing #illustration #artistfr #artfr #characterdesign #myoc #oc #ocsky #religiousart #photoshop #biblical #biblicalart #demon #preacher ]

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Environment design created for a class at the Academy of Art. Painted in Photoshop.
#environmentart #photoshop #schoolart
#academyofart #visualdevelopment #biblicalart #fantasyart #illustration

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Celestial Sanctuary: Revelation 15:8

#CelestialSanctuary #Revelation158 #HeavenlySanctuary #DivineRevelation #BiblicalArt #ScriptureArt #ChristianDecor #FaithInspired #SpiritualSanctuary #HeavenlyArtistry

Celestial Sanctuary: Revelation 15:8 #CelestialSanctuary #Revelation158 #HeavenlySanctuary #DivineRevelation #BiblicalArt #ScriptureArt #ChristianDecor #FaithInspired #SpiritualSanctuary #HeavenlyArtistry

Celestial Sanctuary: Revelation 15:8

#CelestialSanctuary #Revelation158 #HeavenlySanctuary #DivineRevelation #BiblicalArt #ScriptureArt #ChristianDecor #FaithInspired #SpiritualSanctuary #HeavenlyArtistry

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This is Orestes West Garza , a childhood friend of mine, posing as Jesus during Living Stations of the Cross reenactment. I remembered how he looked , and it inspired me to draw this.

Rest in peace my friend, we love you.
#westgarza #oresteswestgarza #biblicalart #biblicalstories #christ

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Luke 23:35

I call it The Nail.
#biblicalart #biblicalstories #christ #cross #resurrection

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Pharaoh's Heart Hardened: Exodus 11:10

#PharaohsHeartHardened #Exodus1110 #BiblicalArt #ScriptureWallArt #FaithInspired #SpiritualWisdom #BibleVerseDecor #ChristianGifts #OldTestamentStories #ReligiousHomeDecor

Pharaoh's Heart Hardened: Exodus 11:10 #PharaohsHeartHardened #Exodus1110 #BiblicalArt #ScriptureWallArt #FaithInspired #SpiritualWisdom #BibleVerseDecor #ChristianGifts #OldTestamentStories #ReligiousHomeDecor

Pharaoh's Heart Hardened: Exodus 11:10

#PharaohsHeartHardened #Exodus1110 #BiblicalArt #ScriptureWallArt #FaithInspired #SpiritualWisdom #BibleVerseDecor #ChristianGifts #OldTestamentStories #ReligiousHomeDecor

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British artist Albert Joseph Moore takes his subject from the Song of Deborah in Judges 5 of the Christian bible, where Sisera’s mother waits at the window and cries through the lattice, “Why is his chariot so long in coming?” The story’s outcome is grim because Sisera has been killed by Jael, yet the painting lingers on the suspended moment before certainty arrives. What we see is the labor of waiting with attention sharpened into worry and hope pressed against dread. The model is Fanny Eaton, a Jamaican-born woman who posed for artists in the Pre-Raphaelite circle, placing a Black muse at the center of a Victorian “biblical” image and complicating ideas of who embodies sacred history. 

It’s a close view of a woman at a window, shown from the chest up in right-facing profile. Her deep brown skin is modeled with soft, naturalistic light as a warm highlight traces her forehead, cheekbone, nose, and the edge of her lower lip, while the far side of her face dissolves into shadow. Her dark hair is smoothed back and gathered behind. She wears a pale, loosely draped garment that slips open at the throat, and a dense, collar-like necklace of clustered beads that sits heavy on her shoulders. The woman leans forward, intent. One hand rises to a wooden window frame with her fingertips hovering near a narrow grid-like lattice, as if she is about to part it or is listening through it. Behind her, the space is quiet and dark, in reddish-brown and umber tones that keep attention on her face and gesture. Her expression is both alert and strained with eyes wide, brow slightly lifted, mouth gently set, as though she is holding her breath while watching the road.

Painted early in Moore’s Royal Academy career, the work shows his early gift for restrained drama, precise observation, and harmonized color. It entered Tullie House through the 1949 bequest of Emily and Gordon Bottomley, and it still reads as a tender study of maternal vigilance.

British artist Albert Joseph Moore takes his subject from the Song of Deborah in Judges 5 of the Christian bible, where Sisera’s mother waits at the window and cries through the lattice, “Why is his chariot so long in coming?” The story’s outcome is grim because Sisera has been killed by Jael, yet the painting lingers on the suspended moment before certainty arrives. What we see is the labor of waiting with attention sharpened into worry and hope pressed against dread. The model is Fanny Eaton, a Jamaican-born woman who posed for artists in the Pre-Raphaelite circle, placing a Black muse at the center of a Victorian “biblical” image and complicating ideas of who embodies sacred history. It’s a close view of a woman at a window, shown from the chest up in right-facing profile. Her deep brown skin is modeled with soft, naturalistic light as a warm highlight traces her forehead, cheekbone, nose, and the edge of her lower lip, while the far side of her face dissolves into shadow. Her dark hair is smoothed back and gathered behind. She wears a pale, loosely draped garment that slips open at the throat, and a dense, collar-like necklace of clustered beads that sits heavy on her shoulders. The woman leans forward, intent. One hand rises to a wooden window frame with her fingertips hovering near a narrow grid-like lattice, as if she is about to part it or is listening through it. Behind her, the space is quiet and dark, in reddish-brown and umber tones that keep attention on her face and gesture. Her expression is both alert and strained with eyes wide, brow slightly lifted, mouth gently set, as though she is holding her breath while watching the road. Painted early in Moore’s Royal Academy career, the work shows his early gift for restrained drama, precise observation, and harmonized color. It entered Tullie House through the 1949 bequest of Emily and Gordon Bottomley, and it still reads as a tender study of maternal vigilance.

“The Mother of Sisera” by Albert Joseph Moore (British) - Oil on canvas / 1861 - Tullie House Museum and Art Gallery (Carlisle, England) #WomenInArt #art #artText #artwork #AlbertJosephMoore #TullieHouse #VictorianArt #BiblicalArt #BritishArt #OilPainting #BlueskyArt #BritishArtist #PortraitofaWoman

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‘When the church door opens, it’s like a miracle’: the phone app that’s a key to Italy’s religious art A cultural initiative in Piedmont is unlocking a trove of priceless medieval frescoes in rural churches

Medieval frescoes in rural Piedmont churches are being reopened via a simple phone app, unlocking spaces of prayer and art long kept closed.

#BiblicalArt #MedievalChristianity #SacredSpace

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A vertical symmetry painting of the Red Sea that was parted is ready to fall on Pharaoh in Infinite Painter

A vertical symmetry painting of the Red Sea that was parted is ready to fall on Pharaoh in Infinite Painter

A vertical symmetry painting of the Red Sea that was parted is ready to fall on Pharaoh in Infinite Painter
#infinitepainter #biblicalart #biblical #symmetry

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My drawing of 1 Samuel 17:45
#bibleverse #biblestories #biblescripture #David #Goliath #DavidandGoliath #art #drawing #pencildrawing #biblicalart #coloredpencil
#teachercorrectionpencildrawing
#1Samuel1745

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Deuteronomy 17's "Law for Kings": A radical, ancient framework. The king is chosen by God, must study His Law constantly, and must not multiply wealth, horses, wives, or self-exaltation. Leadership as sacred service.

#Deuteronomy17 #KingsLaw #ServantLeader #BiblicalArt

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A locust

A locust

A watercolor painting with my eyes closed in Infinite Painter. This painting is called a locust
#abstract #abstractpainting #abstractpainting #biblicalart #biblical #watercolor #watercolorpainting #infinitepainter

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The Pieta'
#pieta #biblicalart #art

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#solarpunkart #faithartist #christianart #conceptprop #divineinspiration #visualdevotional #solarpunkdesign #hopepunk #biblicalart #spiritualconceptart

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The Thorn.
#biblicalart #thethorn #thecrucifixion #Jesus

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Father, forgive them, for they know not what they do," : Luke 23:34

#drawing #biblicalart #JesusChrist #cross #crucifixion

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Shekinah The official website and shop of Shekinah. Find the latest content, buy merch, and support your favorite creator.

shekinah-hgd-shop.fourthwall.com
Check out my merch hope youd enjoy them
#solarpunkart #faithartist #christianart #conceptprop #divinevoyage #visualdevotional #solarpunkdesign #hopepunk #biblicalart #spiritualconceptart

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