From the late Middle Ages to the Renaissance periods (14th to the 16th cen-turies), nuns of the German-speaking lands have made pious images in various media and actively engaged them into their spiritual exercises. These images, made by nuns who did not have professional training in art, were termed as Nonnenarbeiten(nuns` works) and not treated as serious works of art in traditional art history. Recently, however, they began to receive scholarly attention especially by the historians inspired by Gender Studies. This essay attempts to point that these nuns` works are not merely folk crafts distinguished from the so-called ``high art,`` but that they should be understood as a serious religious objects which functioned in the same way as the religious ``high art`` such as altarpieces and panel paintings. Since nuns at that time produced tapestry, religious costumes, and illu-minated manuscripts, they were in fact making a number of religious images but in media that have not been seriously treated in traditional art history, I pay attention to these ``marginal`` media and observe the religious visual motifs appearing here. They were made in order to serve religious functions and this functionality of these images renders them as a part of contemporary religious culture. Interestingly, these motifs consist of both traditional and unique iconography of their own. I believe that nuns were inspired by ``high art`` such as altarpieces and panel paintings installed in their community and encouraged to produce their own non-professional images in order to privatize their religious training and experience.