page_title: God
section_title: Christianity
hierarchical_section_title: God / Depiction / Christianity
caption_attribution_description: The Creation of Adam
context_page_description: In monotheistic thought, God is conceived of as the supreme being, creator deity, and principal object of faith. God is usually conceived as being omnipotent, omniscient, omnipresent and as having an eternal and necessary existence. These attributes are used either in way of analogy or are taken literally. God is most often held to be incorporeal. Incorporeality and corporeality of God are related to conceptions of transcendence and immanence of God, with positions of synthesis such as the "immanent transcendence".
  Some religions describe God without reference to gender, while others use terminology that is gender-specific and gender-biased.
  God has been conceived as either personal or impersonal. In theism, God is the creator and sustainer of the universe, while in deism, God is the creator, but not the sustainer, of the universe. In pantheism, God is the universe itself. Atheism is an absence of belief in God, while agnosticism deems the existence of God unknown or unknowable. God has also been conceived as the source of all moral obligation, and the "greatest conceivable existent". Many notable philosophers have developed arguments for and against the existence of God.
context_section_description: Early Christians believed that the words of the Gospel of John 1:18: "No man has seen God at any time" and numerous other statements were meant to apply not only to God, but to all attempts at the depiction of God.
  However, later depictions of God are found. Some, like the Hand of God, are depiction borrowed from Jewish art.
  The beginning of the 8th century witnessed the suppression and destruction of religious icons as the period of Byzantine iconoclasm (literally image-breaking) started. The Second Council of Nicaea in 787 effectively ended the first period of Byzantine iconoclasm and restored the honouring of icons and holy images in general. However, this did not immediately translate into large scale depictions of God the Father. Even supporters of the use of icons in the 8th century, such as Saint John of Damascus, drew a distinction between images of God the Father and those of Christ.
  Prior to the 10th century no attempt was made to use a human to symbolize God the Father in Western art. Yet, Western art eventually required some way to illustrate the presence of the Father, so through successive representations a set of artistic styles for symbolizing the Father using a man gradually emerged around the 10th century AD. A rationale for the use of a human is the belief that God created the soul of Man in the image of his own (thus allowing Human to transcend the other animals).
  It appears that when early artists designed to represent God the Father, fear and awe restrained them from a usage of the whole human figure. Typically only a small part would be used as the image, usually the hand, or sometimes the face, but rarely a whole human. In many images, the figure of the Son supplants the Father, so a smaller portion of the person of the Father is depicted.
  By the 12th century depictions of God the Father had started to appear in French illuminated manuscripts, which as a less public form could often be more adventurous in their iconography, and in stained glass church windows in England. Initially the head or bust was usually shown in some form of frame of clouds in the top of the picture space, where the Hand of God had formerly appeared; the Baptism of Christ on the famous baptismal font in Liège of Rainer of Huy is an example from 1118 (a Hand of God is used in another scene). Gradually the amount of the human symbol shown can increase to a half-length figure, then a full-length, usually enthroned, as in Giotto's fresco of c. 1305 in Padua. In the 14th century the Naples Bible carried a depiction of God the Father in the Burning bush. By the early 15th century, the Très Riches Heures du Duc de Berry has a considerable number of symbols, including an elderly but tall and elegant full-length figure walking in the Garden of Eden, which show a considerable diversity of apparent ages and dress. The "Gates of Paradise" of the Florence Baptistry by Lorenzo Ghiberti, begun in 1425 use a similar tall full-length symbol for the Father. The Rohan Book of Hours of about 1430 also included depictions of God the Father in half-length human form, which were now becoming standard, and the Hand of God becoming rarer. At the same period other works, like the large Genesis altarpiece by the Hamburg painter Meister Bertram, continued to use the old depiction of Christ as Logos in Genesis scenes. In the 15th century there was a brief fashion for depicting all three persons of the Trinity as similar or identical figures with the usual appearance of Christ.
  In an early Venetian school Coronation of the Virgin by Giovanni d'Alemagna and Antonio Vivarini (c. 1443), The Father is depicted using the symbol consistently used by other artists later, namely a patriarch, with benign, yet powerful countenance and with long white hair and a beard, a depiction largely derived from, and justified by, the near-physical, but still figurative, description of the Ancient of Days.
  . ...the Ancient of Days did sit, whose garment was white as snow, and the hair of his head like the pure wool: his throne was like the fiery flame, and his wheels as burni
caption: The famous The Creation of Adam on the Sistine Chapel ceiling, by Michelangelo c. 1512
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