Jesus Christ is arguably the most famous man who ever lived. His image adorns countless churches, icons, and paintings. He is the subject of millions of statues, sculptures, devotional objects and works of art. Everyone can conjure an image of Jesus: usually as a handsome, white man with flowing locks and pristine linen robes. But what did Jesus really look like? Is our popular image of Jesus overly westernized and untrue to historical reality? This question continues to fascinate. Leading Christian Origins scholar Joan E. Taylor surveys the historical evidence, and the prevalent image of Jesus in art and culture, to suggest an entirely different vision of this most famous of men. He may even have had short hair.

"A deeply learned and spiritually enriching book by a mature evangelical scholar that brings the doctrine of Christ and the human together at the point of the image of God. . . . Hughe's skills as both a biblical scholar and a historical and systematic theologian are very evident in this work, which is his best book yet." - Clark H. Pinnock, McMaster Divinity College "In this wide-ranging biblical, historical, and theological study a versatile veteran makes convincing use lf the concept of the divine image to integrate the doctrines of man and Christ. Philip Hughe's biblical bases are solid, his exposition weighty, and his historical interactions judicious and enlightening. This is a very valuable piece of work." - J. I. Packer, Regent College "We have come to expect both solid learning and exquisite literary style from Philip Edgcumbe Hughes. "The True Image" is no exception. Indeed it is a remarkable piece of work, quarried from a lifetime of study in biblical exegesis, systematic theology, and church history. It is encyclopedic in its discussion of anthropology and Christology and their mutual relationship. The novitate will find it instructive, while the theologically advanced will discover comprehensive exposition married to a scholarly judgment that sometimes resurrects classical views, sometimes provides the unexpected, and on occasion surprises with the controversial." - Sinclair B. Ferguson, Westminster Theological Seminary

In My Catholic Faith, Louis LaRavoire Morrow presents a comprehensive guide to the beliefs, practices, and traditions of the Catholic Church. This book serves as a valuable resource for both newcomers to the faith and lifelong Catholics seeking to deepen their understanding of their religious heritage. Morrow explores the core tenets of Catholicism, offering insights into the sacraments, prayer, and the role of the Church in daily life.

A Man is not bound to win, but A Man is bound to be true. A Man is not bound to succeed, but A Man is bound to live by the light that he have. A Man must stand with anybody that stands right, A Man must stand with Man while he is right, and Man must part with that Man when he goes wrong. Perhaps love for your fellow Man is the process of leading A Man gently back to the image in which A Man is bound to..."THE IMAGE OF GOD".

The Image of Christ expresses the view that modern secular audiences can engage with the masterpieces of Christian art at an emotional as well as a purely aesthetic or historical level. This book aims to help the viewer understand these pictures by focusing attention on the purpose for which they were made, and explores what they might have meant to their original viewers. The authors trace how a recognizable image of Christ evolved, starting with the earliest symbols and metaphorical images such as the Sheperd, the Lamb and the Vine. They trace the emergence of a "true likeness," emphasizing the importance of the Veronica, the "miraculous portrait" said to have been imprinted on the cloth held out to Jesus on the way to Calvary. They describe how artists conveyed the paradox of Christ's dual nature—human and divine, weak and powerful, victim and victor—in portrayals of his infancy. They also show how images of Christ's suffering during the Passion were intended to convey a cosmic, not just a personal significance. Artists have attempted to put extremes of suffering and despair into an overal context of hope–a vein of hope that runs from the catacombs to Hiroshima and beyond. These are images that speak, even to those who do not hold Christian beliefs. Artists had to make it clear that in representing the life and death of Jesus they were offering a continuing truth; we the spectators have to become eyewitnesses to an event that matters to us now. As a result, the different moments and aspects of Christ's life become, in the hands of great artists, a reflection of all human experience. The Virgin nursing her son expresses the feelings of love every mother has for her child. Christ mocked in innocence beset by violence. Christ risen and appearing to Mary Magdalene is a universal reaffirmation that love cannot be destroyed by death. Beyond their obvious religious significance, these are paintings that have a universal meaning.

"Best-selling journalist, historian and author Paul Badde embarks on an exciting quest to discover the truth behind the Holy Face of Manoppello, a relic recently rediscovered and rumored to be the veil of Veronica...Badde was intrigued when he heard of a mysterious image in a remote Italian village--an image of a man's face on byssus cloth. Byssus, or sea silk, is a rare and delicate fabric woven from a silky filament produced by mollusks. It is claimed that the fabric is so thin and delicate that it is impossible to paint on--yet the image in Manoppello is clearly visible, and when laid over the image of the face on the Shroud of Turin, forms a perfect match..."--Dust cover flap.

Misunderstandings about what it means for humans to be created in God's image have wreaked devastation throughout history -- for example, slavery in the U. S., genocide in Nazi Germany, and the demeaning of women everywhere. In Dignity and Destiny John Kilner explores what the Bible itself teaches about humanity being in God's image. He discusses in detail all of the biblical references to the image of God, interacts extensively with other work on the topic, and documents how misunderstandings of it have been so problematic. People made according to God's image, Kilner says, have a special connection with God and are intended to be a meaningful reflection of him. Because of sin, they don't actually reflect him very well, but Kilner shows why the popular idea that sin has damaged the image of God is mistaken. He also clarifies the biblical difference between being God's image (which Christ is) and being in God's image (which humans are). He explains how humanity's creation and renewal in God's image are central, respectively, to human dignity and destiny. Locating Christ at the center of what God's image means, Kilner charts a constructive way forward and reflects on the tremendously liberating impact that a sound understanding of the image of God can have in the world today.

Humans are created in the image of God, yet by choosing to rebel against God we become unfaithful bearers of his image. But Jesus, who is the image of God, restores the divine image in us. At the intersection of theology and culture, these essays offer a unified vision of what it means to be truly human and created in the divine image in the world today.

How is it that in America the image of Jesus Christ has been used both to justify the atrocities of white supremacy and to inspire the righteousness of civil rights crusades? In The Color of Christ, Edward J. Blum and Paul Harvey weave a tapestry of American dreams and visions--from witch hunts to web pages, Harlem to Hollywood, slave cabins to South Park, Mormon revelations to Indian reservations--to show how Americans remade the Son of God visually time and again into a sacred symbol of their greatest aspirations, deepest terrors, and mightiest strivings for racial power and justice. The Color of Christ uncovers how, in a country founded by Puritans who destroyed depictions of Jesus, Americans came to believe in the whiteness of Christ. Some envisioned a white Christ who would sanctify the exploitation of Native Americans and African Americans and bless imperial expansion. Many others gazed at a messiah, not necessarily white, who was willing and able to confront white supremacy. The color of Christ still symbolizes America's most combustible divisions, revealing the power and malleability of race and religion from colonial times to the presidency of Barack Obama.