Kærlighedsbuddet
Kærlighedsbuddet står beskrevet i bibelen i Første Korintherbrev kapitel 13, vers 4-7. Dette lyder sådan:
 | Kærligheden er tålmodig, kærligheden er mild, den misunder ikke, kærligheden praler ikke, bilder sig ikke noget ind. Den gør intet usømmeligt, søger ikke sit eget, hidser sig ikke op, bærer ikke nag. Den finder ikke sin glæde i uretten, men glæder sig ved sandheden. (1 Kor 13,4-7) |  |
Buddet er meget vigtigt for kristendommen. Kærligheden, der beskrives, kan også tolkes som Guds kærlighed til mennesker.
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 | Spire Denne artikel om et emne fra Det Nye Testamente er en spire som bør udbygges. Du er velkommen til at hjælpe Wikipedia ved at udvide den. |  |
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Praising-hands.svg
Forfatter/Opretter: Original tiny raster by Bastique, vectorization work by Booyabazooka, Licens: CC BY-SA 3.0
Praying hands against quasi-stained-glass background.
Forfatter/Opretter: Original tiny raster by Bastique, vectorization work by Booyabazooka, Licens: CC BY-SA 3.0
Praying hands against quasi-stained-glass background.
Ary Scheffer - Christ Weeping Over Jerusalem - Walters 37111.jpg
Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhibited his first works at the age of 17 in the 1812 Salon in the so-called "juste-milieu" (in English, literally, middle path) tradition. Scheffer was attracted to romantic themes gleaned from contemporary authors such as Sir Walter Scott and Goethe. His meteoric rise in the art world drew instant critical acclaim and the acquaintance of such artists as Théodore Géricault, Eugène Delacroix, and Paul Delaroche.
Before enrolling in the École des Beaux-Arts, Scheffer studied with the neoclassically trained artist Pierre-Joseph Proudhon, whose mastery of the art of the past and high technical finish he emulated. He exhibited his first works at the age of 17 in the 1812 Salon in the so-called "juste-milieu" (in English, literally, middle path) tradition. Scheffer was attracted to romantic themes gleaned from contemporary authors such as Sir Walter Scott and Goethe. His meteoric rise in the art world drew instant critical acclaim and the acquaintance of such artists as Théodore Géricault, Eugène Delacroix, and Paul Delaroche.
This work was not seen until after Scheffer's death. He stopped exhibiting at the Salon altogether in 1846 and became increasingly preoccupied with religious imagery with a seriousness that reflects a pointed departure from his earlier, more anecdotal work. In this iconic image, he focuses on the solitary figure of Christ, who is weeping for the coming destruction of Jerusalem, as described by the Evangelist Luke in the New Testament (19:41): "As he came near and saw the city, he wept over it."