Abstract: The article examines the iconography of the Sacrifice of Isaac (Akedah) in Jewish and Christian religious art of late antiquity. The focus of the study is on the frescoes of the Dura-Europos synagogue (3rd century CE) and the paintings of the Catacombs of Peter and Marcellinus (3rd–4th centuries CE), interpreted through the philosophical opposition of Law and Truth, as proposed by Alain Badiou. In Jewish tradition, the Akedah symbolizes fidelity to the Law and the covenant with God, while in Christianity, it is reinterpreted as a prophecy of Christ's sacrifice, reflecting a radical break with previous ritual structures. The methodology of the study is based on comparative iconographic analysis and philosophical interpretation within the framework of Badiou's concepts. The author reveals how visual symbols (such as the shell, the lamb, and the postures of the figures) become carriers of theological ideas, highlighting the antagonism between Jewish and Christian interpretations of the Akedah. The novelty of the work lies in the application of Badiou's philosophical concepts to the analysis of religious art, uncovering the metaphysical conflict between Law (as a system of norms) and Truth (as an event that disrupts the existing order). For the first time, the iconography of the Akedah is examined as a field of confrontation between two paradigms, where Judaism maintains fidelity to tradition, while Christianity asserts a new universality through symbolic reinterpretation. The conclusions emphasize that Jewish art focuses on fidelity to the Law and dialogue with God, while Christian art transforms the sacrifice into a symbolic Truth linked to the event of Christ. This antagonism continues to shape the development of the two religious traditions, finding expression in their art and theology.