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Angel of the Day

psPast Life Reading

      Your angels can help you remember your past lives. By understanding the journey that your soul has made, you can help yourself heal from emotional, spiritual, and physical wounds.

Past Life Reading contains:

        Your past; Your path;
        Previous incarnation; Your lessons.

Reading length: approx 11 pages.

Price: $14.90

            Checkout with PayPal

Archangel

Archangels Reading

      A complete reading about your life covering a period of a year, between two birthdays. Find out what is out there for you: opportunities, dangers and how to avoid them, how to improve yourself and your relations.

Archangels Reading contains:

      Prevision for a year (between two birthdays)
      Important events of the year
      Message from your Guardian Angel

Reading length: approx 20 pages.

Price: $19.90

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Angel Card

      A divine message form the Angel of the moment. Please wait 5 minutes before asking the next question. Every Angel rules approximately 5 minutes of the day (after 6 hours they repeat). Don’t abuse the Angel Oracle.

How to do it

  1. Clear your mind.
  2. Think about your question.
  3. Click on the picture.

The answer will be revealed for you.

Your Angels

Your Angels

Contains: the Incarnation Angel (with description), the Heart Angel and the Intellect Angel.

Price: $9.95

Love Reading

Love Reading

Contains: your current situation regarding your love life, marriage, hidden things, attitude and future.

Price: $9.95

Career Reading

Job Career Reading

Contains: your current situation, business partnership, your career, attitude and future.

Price: $9.95

Posts Tagged ‘ART’

ART, ANGELS IN

Angels and archangels and cherubim and seraphim have always been fruitful sources of inspiration for painters and sculptors. Early images of angels emerged from a creative interplay between the artist’s personal vision and traditional canons, usually based upon Scripture.

It has often been assumed that only Christianity and Judaism express belief in angels, and that only Christian artists have depicted them, because Jewish law forbids all such representations. However, angels or angel-like beings also exist in classical mythology, shamanism, Zoroastrianism, Hinduism, Buddhism, Taoism, and Islam. In fact, and contrary to popular opinion, Islam does not prohibit such images, and its artists, particularly Sufi mystics, have derived a rich iconography of angels from all sources that nourish the Islamic “mythos,” from the Jewish and Christian traditions, to Gnosticism, and Manichaeanism.

In both monotheistic and polytheistic traditions, angels represent messengers of God, or gods and goddesses. They are viewed as the inhabitants of an intermediate world and, according to Muhammad, are sent by God to earth to search out those places where individuals or groups are engaged in remembering or invoking the Deity.

Evolution of Christian Beliefs Concerning Angels

The Council of Nicaea in A.D. 325 declared belief in angels a part of dogma. In 343 the Synod of Laodicaea condemned the worship of angels as “idolatry.” Finally, in 787 the Seventh Ecumenical Synod reinstated a carefully defined and limited cult of the archangels, which took root in the Eastern church; in the West, however, distrust of angels remained.

The Hebrew Scriptures (the Old Testament) represent the angels as an innumerable host, discerning good and evil by reason of superior intelligence, and doing the will of God. Not until the Babylonian captivity do we read about evil angels who wreak havoc among men, according to an angelological theory that draws from the religion of ancient Mesopotamia and the teachings of Zoroaster. The angels of the New Testament have sympathy for human sorrow, attend prayerful souls, and conduct the spirits of the just to heaven.

By the end of the fourth century, the Christian church developed a profound belief in the existence of both good angels, inciting human beings to pursue good, and evil angels, tempting them to sin. The church fathers maintained this faith in their writings, which teach that angelic help may be invoked in time of need.

The theologians of the Middle Ages originated a systematic classification of the Orders of the Heavenly Host, based on the classification of St. Paul, and assigned to each rank its distinctive office. The angelic host was divided into three hierarchies, and these again into nine choirs. The first hierarchy includes seraphim, cherubim, and thrones. The second hierarchy includes the dominations, virtues, and powers; the third, princedoms, archangels, and angels.

From the third hierarchy come the ministers, or governors, and messengers, or councillors, of God. The choristers of heaven are also angels, whose title, signifying messengers, is given to men bearing important tidings. The Evangelists are usually represented with wings, John the Baptist is often depicted as angel, and the Greeks sometimes even represented Christ with wings, calling him the great angel of the will of God.

Depiction of Angels in Christian Art

The lack of Jewish religious art, and the paucity of New Testament descriptions, presented no barrier to the art of Christianity. As far as the representation of angels is concerned, the aureole or nimbus is never omitted from the head of an angel and is always, wherever used, the symbol of sanctity.

Wings, the distinctive angelic symbol, are emblematic of spirit, power, and swiftness. This theme is very common throughout the entire Middle Ages and constitutes the first portrayal of the accepted Christian idea of angels as winged beings. The figure of the winged angel evolved during the fourth century, soon crystallized into a formula and remained common until the sixth century, after which it came into its own again in Carolingian art and the Romanesque art of Italy and southern France. It was foreign to Gothic art, although it became common again in Italy during the thirteenth through fifteenth centuries.

The Glory of Angels, the representation of great numbers of angels surrounding the Deity, the Trinity, or the glorified Virgin, is generally composed of the hierarchies of angels in circles, each hierarchy in its proper order. Complete versions of the Glory of Angels, with nine circles, are rare. Most artists contented themselves with two or three and sometimes merely a single circle. The nine circles of angels are represented in various ways and are frequently seen in ancient frescoes, mosaics, and sculptures. The princedom and power orders are represented by rows and groups of angels, all wearing the same dress and the same tiara.

The use of color constituted one of the most important elements in the proper painting of seraphs and cherubs, whereas greater freedom was permitted in the portrayal of other angelic orders. For instance, the inner circle in a Glory should be glowing red, the symbol of love; the second should be blue, the emblem of light, which symbolizes knowledge.

The colors of the oldest pictures, the illuminated manuscripts, the stained glass, and the painted sculptures were most carefully considered, although gradually the color scheme was less faithfully observed. By the beginning of the sixteenth century, it was not unusual to see the wings of cherubim in various colors, and cherub bursts with no apparent wings floating in clouds. Raphael’s famous Madonna di San Sisto and Perugino’s Coronation of the Virgin illustrate this change.

The five angelic choirs that follow the seraphim and cherubim were not very common in art, although they were painted with great accuracy in the works of the medieval theologians. Archangels represented merely as part of their order are usually in complete armor and bear swords with the points upward and sometimes hold a trumpet. Angels are robed and wield wands, although the wand is frequently omitted, as when the hands are folded in prayer or musical instruments are in use.

All angels are supposedly masculine and are represented as having young and beautiful human forms and faces. They are never old, and infant angels symbolize the souls of regenerated men, or the spirits of those who die in infancy. Also, because angels are changeless, time does not exist for them and they enjoy perpetual youth.

The earliest pictures of angels depict ample drapery, usually white, although delicate shades of blue, red, and green were frequently employed. The Venetians used a pale salmon color in the drapery of their angels, while the early German painters affected angelic draperies of vast expanse and weighty coloring, embroidery, and jewels.

In many old churches, angels carved in marble, stone, or wood or painted on glass, frescoes, or other surfaces fill all spaces. When the stricter theological observances prevailed, however, angels were not permitted as mere decorations, but were supposed to illustrate some solemn and significant teaching of the Church. During the first three centuries of Christianity, it was not permitted to represent angels, who were pictured in a crude manner.

Until the tenth century, angels in art were curiously formed, and more curiously draped. Giotto was the first artist to approach the ideal representation of angels, and his pupils excelled him in their concept of what these celestial beings could be. It was Fra Angelico, however, who first succeeded in portraying absolutely unearthly angels. No angel of Fra Angelico’s resembles any human creature, whereas the angels of other masters often resemble a beautiful boy or a happy child. Also, Fra Angelico’s angels are feminine, almost without exception.

The angels of Giotto and Benozzo Gozzoli are also quite feminine, whereas Michelangelo, whose angels are not winged, fail to represent such celestial beings. Leonardo da Vinci’s angels almost smile, while Correggio reproduced lovely children who served as models for his angels. In paintings by Francesco Albani and Guido Reni, angels are often attractive and elegant boys, as may be seen in the illustration of the child Jesus with angels, by Albani.

Raphael’s angels, especially in his later works, are sexless, spiritual, graceful, and, at the same time, the personification of intelligence and power, as may be seen in the illustration of the archangel Michael, as well as in the Expulsion of Heliodorus from the Temple, in the Stanza della Signatura in the Vatican, in which angels are without wings. Rembrandt, too, painted wonderful angels that are poetical, unearthly apparitions. Botticelli’s Neoplatonism inspired him with a vision of angels as human and classical as Raphael’s, but somehow more genuinely mystical and supernatural, as can be seen in his Mystic Nativity.

Among contemporary artists, there are significant representations of angels by Auguste Rodin, Max Ernst, Paul Klee, and, especially, Marc Chagall. Chagall was a Russian painter who was obsessed by angels, as evidenced in his The Fall of the Angel, which is characterized by a violent red color in which the angel burns while falling.

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