This doctoral thesis focuses on the diachronic analysis of the visual tradition related to the sacrifice of Isaac and analyzes, from a culturalist perspective, the concretion of the iconographic types of the twenty-second chapter of the Genesis from the conventionalized cultural tradition in both its visual and writing aspects. This research starts from the first vestiges of mural painting in Dura Europos (ca. 244), likewise, it deals with all kinds of mediums that show the different iconographic types of Genesis 22. Finally, this analyss includes the audiovisual productions of contemporaneity as witnesses of the survival and resignification of the sacrifice of Isaac from the twentieth century to the present day. The main purpose is to carry out a diachronic analysis that allows access to the function that contemporary art had in their cultural context, identifying both the visual and discursive antecedents, as well as the significant borrowings from the preceding iconic tradition.