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The bronze 'Chimera of Arezzo' is one of the best known examples of the art of the Etruscans.<br/><br/> In Greek mythology the monstrous Chimera ravaged its homeland, Lycia, until it was slain by Bellerophon. The goat head of the Chimera has a wound inflicted by this Greek hero. Based on the cowering, representation of fear, and the wound inflicted, this sculpture may have been part of a set that would have included a bronze sculpture of Bellerophon.
Horus was often the ancient Egyptians' national patron god. He was usually depicted as a falcon-headed man wearing the pschent, a red and white crown, as a symbol of kingship over the entire kingdom of Egypt.
The bronze 'Chimera of Arezzo' is one of the best known examples of the art of the Etruscans.<br/><br/> In Greek mythology the monstrous Chimera ravaged its homeland, Lycia, until it was slain by Bellerophon. The goat head of the Chimera has a wound inflicted by this Greek hero. Based on the cowering, representation of fear, and the wound inflicted, this sculpture may have been part of a set that would have included a bronze sculpture of Bellerophon.
The griffin, griffon, or gryphon is a legendary creature with the body, tail, and back legs of a lion; the head and wings of an eagle; and an eagle's talons as its front feet. As the lion was traditionally considered the king of the beasts and the eagle was the king of the birds, the griffin was thought to be an especially powerful and majestic creature.<br/><br/> The griffin was also thought of as king of the creatures. Griffins are known for guarding treasure and priceless possessions. In antiquity it was a symbol of divine power and a guardian of the divine.
The griffin, griffon, or gryphon is a legendary creature with the body, tail, and back legs of a lion; the head and wings of an eagle; and an eagle's talons as its front feet. As the lion was traditionally considered the king of the beasts and the eagle was the king of the birds, the griffin was thought to be an especially powerful and majestic creature.<br/><br/> The griffin was also thought of as king of the creatures. Griffins are known for guarding treasure and priceless possessions. In antiquity it was a symbol of divine power and a guardian of the divine.
In Genoa, the houses were often built in narrow, steep streets. This made the lintel the best place for any exterior decoration. It was often carved with images of Saint George and the Dragon.
Saint George and the Dragon often featured on houses in Venice belonging to the Scuola degli Schiavoni (Guild of Slavs) or its members. St. George was the patron saint of Dalmatia, and the guild was set up for the benefit of Slav merchants.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Mummy portraits or Fayum mummy portraits (also Faiyum mummy portraits) is the modern term given to a type of naturalistic painted portraits on wooden boards attached to mummies from the Coptic period. They belong to the tradition of panel painting, one of the most highly regarded forms of art in the Classical world. In fact, the Fayum portraits are the only large body of art from that tradition to have survived.<br/><br/> Mummy portraits have been found across Egypt, but are most common in the Faiyum Basin, particularly from Hawara and Antinoopolis, hence the common name. 'Faiyum Portraits' is generally thought of as a stylistic, rather than a geographic, description. While painted Cartonnage mummy cases date back to pharaonic times, the Faiyum mummy portraits were an innovation dating to the Coptic period at the time of the Roman occupation of Egypt.<br/><br/> They date to the Roman period, from the late 1st century BCE or the early 1st century CE onwards. It is not clear when their production ended, but recent research suggests the middle of the 3rd century. They are among the largest groups among the very few survivors of the highly prestigious panel painting tradition of the classical world, which was continued into Byzantine and Western traditions in the post-classical world, including the local tradition of Coptic iconography in Egypt.
Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs. In yin and yang terminology, a dragon is yang and complements a yin fenghuang or 'Chinese phoenix'.<br/><br/> Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, hurricane, and floods. The dragon is also a symbol of power, strength, and good luck. With this, the Emperor of China usually used the dragon as a symbol of his imperial power and strength.
Isaiah (Hebrew: יְשַׁעְיָהוּ, Greek: Ἠσαΐας, Ēsaïās) was a prophet in the 8th-century BC Kingdom of Judah. Jews and Christians consider the Book of Isaiah a part of their Biblical canon; he is the first listed (although not the earliest) of the neviim akharonim, the later prophets. Many of the New Testament teachings of Jesus refer to the book of Isaiah.
Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs. In yin and yang terminology, a dragon is yang and complements a yin fenghuang or 'Chinese phoenix'.<br/><br/> Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, hurricane, and floods. The dragon is also a symbol of power, strength, and good luck. With this, the Emperor of China usually used the dragon as a symbol of his imperial power and strength.
Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs. In yin and yang terminology, a dragon is yang and complements a yin fenghuang or 'Chinese phoenix'.<br/><br/> Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, hurricane, and floods. The dragon is also a symbol of power, strength, and good luck. With this, the Emperor of China usually used the dragon as a symbol of his imperial power and strength.
The 8th-century Nalanda Gedige is to the east of Route 9, about 22km north of Aluvihara. A temple which is sacred to both Buddhists and Hindus, it has some rather weathered erotic Tantric stone carvings. The temple stands beside a large tank or reservoir. The style is unusual for Sri Lanka, and archaeologists have drawn parallels with the 7th-century shore temple at Mamallapuram in Tamil Nadu, India.
Galle was for centuries Sri Lanka’s main port, a position which strengthened during the periods of Portuguese and Dutch colonial rule. Galle only lost its primacy in the late 19th century, when the British expanded and developed the harbour at Colombo to become the island’s major port.<br/><br/>Perhaps the earliest recorded reference to Galle comes from the great Arab traveller Ibn Battuta, who visited the port—which he calls Qali—in the mid-14th century.<br/><br/>The Portuguese first arrived in 1505, when a fleet commanded by Lorenzo de Almeida took shelter from a storm in the lee of the town. Clearly the strategic significance of the harbour impressed the Portuguese, for 82 years later, in 1587, they seized control of the town from the Sinhala kings and began the construction of Galle Fort. This event marked the beginning of almost four centuries of European domination of the city, resulting in the fascinating hybrid—architecturally, culturally and ethnically—which Galle is today.<br/><br/>The Dutch captured the city from the Portuguese in 1640, and immediately began strengthening the fortifications. They remained for almost 150 years, until the city was in turn taken by the British in 1796.<br/><br/>Not until 1947, when Ceylon gained its independence from the British, did Galle become, once again, an independent city—and by this time the long years of association with European colonialism had left an indelible stamp on the city which makes it unique in today’s Sri Lanka.
Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs. In yin and yang terminology, a dragon is yang and complements a yin fenghuang or 'Chinese phoenix'.<br/><br/> Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, hurricane, and floods. The dragon is also a symbol of power, strength, and good luck. With this, the Emperor of China usually used the dragon as a symbol of his imperial power and strength.
In Egyptian mythology, Set is portrayed as the usurper who killed and mutilated his own brother Osiris. Osiris' wife Isis reassembled Osiris' corpse and embalmed him. Osiris' son Horus sought revenge upon Set, and the myths describe their conflicts. The death of Osiris and the battle between Horus and Set is a popular event in Egyptian mythology.
The Safavid dynasty (Persian: سلسلهٔ صفويان‎; Azerbaijani: Səfəvilər imperiyası, صفویلر) was one of the most significant ruling dynasties of Iran, and is often considered the beginning of modern Persian history.
This miniature depicts the dragon of Tannin Island that Alexander the Great (Iskandar) killed and the horned rabbit that its inhabitants gave him as a gift.
Horus was often the ancient Egyptians' national patron god. He was usually depicted as a falcon-headed man wearing the pschent, a red and white crown, as a symbol of kingship over the entire kingdom of Egypt.
The Kitab al-Bulhan, or Book of Wonders, is a 14th and 15th century Arabic manuscript with sections on astronomy, astrology and divination.
The burning bush is an object described by the Book of Exodus (3:1-21) as being located on Mount Sinai; according to the narrative, the bush was on fire, but was not consumed by the flames, hence the name.<br/><br/> In the narrative, the burning bush is the location at which Moses was appointed by God to lead the Israelites out of Egypt and into Canaan.
This is an illuminated and illustrated copy of the Ḫamse (quintet) of the Ottoman Turkish poet and scholar ʿAṭāʾullāh bin Yaḥyá ʿAṭāʾī (d. 1044 AH / 1634 CE).<br/><br/> Generally, the Turkish dragon secretes flames from its tail, and there is no mention in any legends of its having wings, or even legs.
Joel (Hebrew: יואל‎) was a prophet of ancient Israel, the second of the twelve minor prophets and the author of the Book of Joel. He is mentioned by name only once in the Hebrew Bible / Old Testament, in the introduction to his own brief book, as the son of Pethuel (Joel 1:1).<br/><br/> The dates of his life are unknown; he may have lived anywhere from the 9th century BCE to the 5th century BCE, depending on the dating of his book. The book's mention of Greeks has not given scholars any help in dating the text since the Greeks were known to have had access to Judah from Mycenaean times. However, the book's mention of Judah's suffering and to the standing temple has led some scholars to place the date of the book in the post-exilic period, after the construction of the Second Temple. Joel was originally from Judah / Judea, and, judging from its prominence in his prophecy, was quite possibly a prophet associated with the ritual of the Jerusalem temple.
Chinese dragons are legendary creatures in Chinese mythology and folklore. In Chinese art, dragons are typically portrayed as long, scaled, serpentine creatures with four legs. In yin and yang terminology, a dragon is yang and complements a yin fenghuang or 'Chinese phoenix'.<br/><br/> Chinese dragons traditionally symbolize potent and auspicious powers, particularly control over water, rainfall, hurricane, and floods. The dragon is also a symbol of power, strength, and good luck. With this, the Emperor of China usually used the dragon as a symbol of his imperial power and strength.<br/><br/> Symbols of dragons were sometimes placed in tombs as means to help the deceased get to heaven.
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, "The Book of Kings") is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest
The burning bush is an object described by the Book of Exodus (3:1-21) as being located on Mount Sinai; according to the narrative, the bush was on fire, but was not consumed by the flames, hence the name.<br/><br/> In the narrative, the burning bush is the location at which Moses was appointed by God to lead the Israelites out of Egypt and into Canaan.
A dragon (thu‘ban), from a copy of ‘Ajā’ib al-makhlūqāt wa-gharā’ib al-mawjūdāt (Marvels of Things Created and Miraculous Aspects of Things Existing) by al-Qazwīnī (d. 1283/682).<br/><br/> Neither the copyist nor illustrator is named, and the copy is undated. The nature of paper, script, ink, illumination, and illustrations suggest that it was produced in provincial Mughal India, possibly the Punjab, in the 17th century.
The griffin, griffon, or gryphon is a legendary creature with the body, tail, and back legs of a lion; the head and wings of an eagle; and an eagle's talons as its front feet. As the lion was traditionally considered the king of the beasts and the eagle was the king of the birds, the griffin was thought to be an especially powerful and majestic creature.<br/><br/> The griffin was also thought of as king of the creatures. Griffins are known for guarding treasure and priceless possessions. In antiquity it was a symbol of divine power and a guardian of the divine.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Labrang Monastery is one of the six great monasteries of the Gelug (Yellow Hat) school of Tibetan Buddhism. Its formal name is Gandan Shaydrup Dargay Tashi Gyaysu Khyilway Ling, commonly known as Labrang Tashi Khyil, or simply Labrang. The monastery was founded in 1709 by the first Jamyang Zhaypa, Ngawang Tsondru. It is Tibetan Buddhism's most important monastery town outside the Tibetan Autonomous Region.
Banteay Srei (or Banteay Srey) is a 10th century Cambodian temple dedicated to the Hindu god Shiva and is located to the north-east of the main group of temples at Angkor. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. Banteay Srei is sometimes referred to as the "jewel of Khmer art."
The Shahnameh or Shah-nama (Persian: شاهنامه Šāhnāmeh, "The Book of Kings") is a long epic poem written by the Persian poet Ferdowsi between c.977 and 1010 CE and is the national epic of Iran and related Perso-Iranian cultures. Consisting of some 60,000 verses, the Shahnameh tells the mythical and to some extent the historical past of Greater Iran from the creation of the world until the Islamic conquest of Persia in the 7th century.<br/><br/> The work is of central importance in Persian culture, regarded as a literary masterpiece, and definitive of ethno-national cultural identity of Iran. It is also important to the contemporary adherents of Zoroastrianism, in that it traces the historical links between the beginnings of the religion with the death of the last Zoroastrian ruler of Persia during the Muslim conquest
In Egyptian mythology, Apep was a serpent demon who represented the forces of chaos, death, and disorder. As such, he was the mortal enemy of order, personified as the goddess Ma’at, and light, as incarnated in the form of Ra.<br/><br/> This adversarial construal of the demon is evidenced in various surviving texts from the Middle Kingdom period onwards (ca. 2000-1650 B.C.E.), including the Book of the Dead and the Book of Gates—both of which are concerned with the geography and mythology of the underworld.
Isaiah (Hebrew: יְשַׁעְיָהוּ, Greek: Ἠσαΐας, Ēsaïās) was a prophet in the 8th-century BC Kingdom of Judah. Jews and Christians consider the Book of Isaiah a part of their Biblical canon; he is the first listed (although not the earliest) of the neviim akharonim, the later prophets. Many of the New Testament teachings of Jesus refer to the book of Isaiah.