Man of Sorrows. Man of Sorrows is paramount among the prefigurations of the Messiah identified by Christians in the passages of Isaiah 53 in the Hebrew Bible.
It is also an iconic devotional image that shows Christ, usually naked above the waist, with the wounds of his Passion prominently displayed on his hands and side, often crowned with the Crown of Thorns and sometimes attended by angels. It developed in Europe from the 13th century and was especially popular in Northern Europe.
The image continued to spread and develop iconographical complexity until well after the Renaissance, but the Man of Sorrows in its many artistic forms is the most precise visual expression of the piety of the later Middle Ages, which took its character from mystical contemplation rather than from theological speculation. Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period-devotional images detached from the narrative of Christ's Passion, intended for meditation.
The phrase translated into English as Man of Sorrows occurs at verse 3: 3 He is despised and rejected of men, a Man of sorrows, and acquainted with grief. And we hid as it were our faces from Him; He was despised, and we esteemed Him not.
4 Surely He hath borne our griefs and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. 5 But He was wounded for our transgressions; He was br
It is also an iconic devotional image that shows Christ, usually naked above the waist, with the wounds of his Passion prominently displayed on his hands and side, often crowned with the Crown of Thorns and sometimes attended by angels. It developed in Europe from the 13th century and was especially popular in Northern Europe.
The image continued to spread and develop iconographical complexity until well after the Renaissance, but the Man of Sorrows in its many artistic forms is the most precise visual expression of the piety of the later Middle Ages, which took its character from mystical contemplation rather than from theological speculation. Together with the Pietà, it was the most popular of the Andachtsbilder-type images of the period-devotional images detached from the narrative of Christ's Passion, intended for meditation.
The phrase translated into English as Man of Sorrows occurs at verse 3: 3 He is despised and rejected of men, a Man of sorrows, and acquainted with grief. And we hid as it were our faces from Him; He was despised, and we esteemed Him not.
4 Surely He hath borne our griefs and carried our sorrows; yet we did esteem Him stricken, smitten of God, and afflicted. 5 But He was wounded for our transgressions; He was br
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