Representations Of The Image Of Christian Redemption In The Drawings Of The European Renaissance

Abstract

This research is concerned with studying (representations of the image of Christian redemption in the drawings of the European Renaissance), which included four chapters. The first chapter was devoted to explaining the problem of the research, its importance and the need for it. The problem of the current research ended with the following question: (What are the representations of the image of Christian redemption in the drawings of the European Renaissance?) The search is to know the representations of the image of Christian redemption in the drawings of the European Renaissance. The current research is determined by studying the representations of the image of Christian redemption in the drawings of the European Renaissance executed with different materials and on different materials for the period of time (1420 AD - 1590 AD). As for the second chapter, it included the theoretical framework, which included a topic in which the researcher reviewed the concept of Christian redemption in Western philosophical thought. The number is (3) artistic paintings. As for the fourth chapter, it was marked by the results and conclusions reached by the researcher, in addition to the recommendations and suggestions with the list of sources. The main results are: The conceptual transformations of scenes before the crucifixion were associated with what is spiritual only in the Renaissance or to what is religious and mundane as in the model (2,1) according to what the articulation and expression-making was composed of in the combination of supreme or mythical beings such as angels And between sensory beings such as humans and plants as in model (1). It is also associated with what is rational and focusing on the human self as the focus and criterion for judging discontent according to human tendency and linking to the values of worldly life through attention to the beauty of realistic embodiment and the anatomy of the human body and to show depth, perspective and gradation in the shadows. And light and colors according to the scientific discovery that appeared in the Renaissance era, as in model (2).