Passion imagery
Jesus's passion sequence is the term used to describe the portions of the gospels which deal directly with the literal plot of Jesus's betrayal, arrest, mock trials, hellish coronation (since she actually starts the book with a description of the Crown of Thorns), and his crucifixion and resurrection from the dead. Importantly, Julian interprets the entire story from start to finish as a portrait of love. She believes God is evident in the ultimate narrative quality of the story (saying that "the Fiend" is vanquished by Jesus's death and resurrection, proving that in this universe, the good guys win).
Biblical imagery
Besides the Passion sequence, there are other uses of Biblical imagery, like God being described as the very platform for prayer, and there are descriptions of New Covenant promises about the resurrection of the dead (through allusions to Isaiah, Ezekiel, Jeremiah, et al). She also uses the New Testament imagery of God dwelling infinitely in the human soul. Julian's spiritual understanding of her own psyche is modeled after the Christian faith of the Bible and her church.
Motherhood imagery
Among the imagery of the Revelations are pictures of God's love as a maternal love. She observes that the mythic value of God as the Father (a motif which is among the most important in the Bible), that when she actually broke through and experienced that love in her consciousness and psyche, that it felt like a kind of ecstatic, motherly love. She uses Mary's relationship to Jesus to catalogue this aspect of the divine, heralding Jesus's divine love for his mother to be the most accurate picture of human religion.
Transcendence and imagery of the divine
Instead of coming toward heaven in a spacial-temporal way, Julian's mind opens up in new ways as she meditates and prays, and as her life takes her through a near-death experience. She literally reports seeing death coming, receiving her death rites from her Catholic parish, and then being healed and granted a second chance at life, which she uses to meditate on life and death, on good and evil, on masculine and feminine, until a harmonic, paradoxical revelation of God's love spontaneously occurs, which she reports in tangible language.
