Apocalypse And Rodin's The Right Hand Of God

The book of Revelation was written by the apostle John, in an apocalyptic literature style. It consists of a series of prophecies about the end times, when Jesus will return and triumph over all the evil residing in the world. Its purpose is to bring hope and encouragement to Christians so that they will continue watching for the return and victory of Jesus Christ, but it is also a warning of the Final Judgment that nonbelievers will endure. The depiction of the cosmic battle that takes place both in heaven and on earth, symbolic language, and introduction of surreal

Dante Alighieri’s epic poem, Inferno, and the Book of Revelation as told by John in the Bible each regale the natural curiosity of humans involving manifestations of endings and possibilities of new beginnings in the afterlife. The purpose of informing God’s people of these manifestations and possibilities is mutual and key to the preparedness of humans for life after death. Still, justice is surely delivered appropriately in Inferno and Revelation, due to God’s brilliant arrangements. Divergence between minutiae is outshone by appreciation of seemingly incredulous similarities between God’s plans in the texts. Analysis reveals that Inferno and the Book of Revelation share countless themes, concepts, and scenes, though they differ slightly in the specific details surrounding the unfolding events.

Created in 1489 this masterpiece is made out of pure marble. This sculpture is located in the Vatican City. At first glance this sculpture looks like child dead in a mother's arms, which is correct but there is more too it. The sculpture represents the crucifixion of Jesus Christ. Its shows his mother Mary holding him and he lays there dead. A very little detail that usually goes unnoticed is that Mary is not touching her son directly, but a cloth is between the two. This signifies the Higher Renaissance belief in Neoplatonic, that the beauty on earth signifies God's beauty. This masterpiece is not only amazing by the meaning but the glorious detail that Michelangelo was able to go into with practically a hammer and chisel.

Some people may believe that prophecy and apocalyptic literature is a well-known subject because there are lots of books and papers concerning it, but there is still so much that will always be misunderstood. Prophesy and apocalyptic literature may have some similarities but they are structurally different in a way that makes them distinct. This paper will address prophecy and apocalyptic writings and determine the differences between them by using Daniel and Amos as templates.

The purpose of this paper is to research and analyze the preterist and futurist views of interpreting the Book of Revelation and determine which view provides the most accurate Biblical interpretation. As Richard L. Mayhue states, the "word 'preterist' comes from the Latin term praeteritus which basically means 'past' in regard to time." A preterist interpretation of the Book of Revelation, therefore, asserts that incidents described therein have already come to pass. A futurist interpretation, on the other hand, suggests the opposite namely, that Revelation is a prophecy of things to come.

The book of Daniel and the Revelation are counterparts of each other. They should be studied together as to get the whole picture of God’s redemptive plan, world’s history, the future of the world, God’s victory over evil at the end of the world, and a glimpse into the new heaven and the new earth. Even if these two books are different, many parts of the books talk about the same event of world’s history in which we are about to find out. In this essay, I will show how the book of Daniel is related to Revelation and then how John uses the imagery of Daniel. First of all, let us look at the introduction to the books of Daniel and Revelation. I will

Ira Chernus’ article, “Cheer up, it’s just the end of the world,” addresses the effect of the many apocalyptic worries today on Americans. Chernus begins by introducing the biblical origin, then the dilution, and lastly the multiplication of the ideal apocalypse. The article describes the foundation, biblical apocalypse, as one ending becomes means to a new beginning; a rebirth of this world into a better one. The author depicts the evolution of apocalypse succeeding the biblical era beginning with the nuclear age of World War 2 which introduced the new idea of complete extinction. The article goes on to challenge the blossoming apocalypses that stemmed from the nuclear age with, in Chernus’ opinion, the prominent danger of environmental destruction.

With works in every known medium, from every part of the world, throughout all points in history, exploring the vast collection of the Museum of Modern Art was an overwhelming experience. The objects in the Department of European Sculpture and Decorative Arts are an important historical collection, reflecting the development of a number of art forms in Western Europe. The department's holdings covered sculpture in many sizes, woodwork and furniture, ceramics and glass, jewelry, and tapestries. The gallery attracted my appreciation of the realistic qualities of the human body often portrayed in sculpture.

The apocalypse is a very popular theme throughout the modern day film and literature industry. In all of these pop culture renditions, the apocalypse and doomsday go hand-in-hand. The apocalypse today is seen as the end of the world, natural disasters, mass illnesses or climate change are said to destroy the world and humankind along with it. However, the term “apocalypse” has been around long before the movies and books. Originally, the apocalypse did not always mean the end of the world. The word “apocalypse” comes from the Greek word “apokalypsis”, which also means “revelation” or to uncover a hidden truth (Dayton 7, 2). Therefore, the original concept of the apocalypse is a disclosure of knowledge, revelation or a lesson to be taught. In

Chapter one is a survey of modern scholarly literature related to the theme of worship in the Apocalypse. It is divides into four subtopics; A) The theme of worship as a whole, B) The hymns in the Apocalypse, C) Revelation 4-5, D) Additional worship scenes.

The passage of Scripture being discussed in the following paper is Daniel 7:1-14. This chapter consists of three literary sections, first, chaos by the sea (7:1-8) followed by the heavenly courtroom (7:9-14), concluding with the visions divine victory and interpretation (7:15-28) which will not be addressed in this paper. The Christian canon locates the book of Daniel within its prophetic writings, however, the Jewish canon includes it within, “the Writings.” The book of Daniel doesn’t necessarily fit in either category, as it is widely considered within the literary category of apocalyptic literature which the subsequent sections of this paper will explore further. Daniel can be divided into three sections, based on language: a Hebrew introduction (Ch. 1); an Aramaic section (Ch. 2-7); and a Hebrew section (Ch. 8-12). Within these three language divisions exist two literary sections, first, the Tales (Ch. 1-6) followed by the Visions (Ch. 7-12). These two sections, though existing within the language divisions appear to have no corresponding connection.

The Book of Daniel is the only full-blown apocalyptic book in the Protestant recognized version of the Canon. A literary device divides the book into two halves. Chapters 1-6 are a collection of stories that introduces the reader to Daniel and three other Israelites as unwilling guests of the Babylonia Empire ruled by Nebuchadnezzar. The second half, Chapters 7-12 consists of apocalyptic imagery of deformed beasts and the heavenly court. The focus of this paper will be on chapter 7, which serves as a bridge of the two halves. Chapter 7 is the earliest of the visions as it identifies with the genre of 8-12 while through language and content it reverts to Daniel chapter 2. The linguistic break down is not as neat as the literary divide in

Whenever we hear the word apocalypse the first thing that comes into our mind is the end of the world. Like most words this word has many different meanings. Even though we do not often use this word it is very important to know the different meanings of this word. The one thing that most of the definitions of this word have in common is that they all have to do with something bad happing. The word apocalypse has a very interesting history which helps us discover the different meanings of the word.

Michelangelo once said, “The true work of art is but a shadow of the divine perfection.” These words have uttered in my mind over and over again, as I read them; a man with such talent and grace in his work giving glory to a higher being, whose work is more divine than we can ever imagine. A work of perfection is hard to come by in the lives of mere men, but Michelangelo’s Pieta was so close to perfection that the images in which the sculpture portrays almost comes to life. The word Piet means “pity” or “compassion” (The Crucifixion of Christ). The Pieta has come a long way through history and has been appraised by many along the way, but through it all, the good, the bad Pieta still stands with a fascinating story to

The Creation of Adam, painted by Michelangelo di Lodovico Buonarroti Simoni, is a fresco consisting of watercolor and plaster that resides on the ceiling of the Sistine Chapel. A short analysis of his fresco shows the two focal points of Adam and God, as well as a mass of jumbled angels and green fabric that turned up controversially in the years to follow. Looking on the opposite end of the spectrum lives my parody, The Degradation of Adam. My painting was a rushed, poorly created rendition of what rests on the Sistine Chapel’s ceiling; the reason I chose to compare it to the original is the symbolism behind my parody. Regardless, The Creation of Adam has a customarily approved meaning to many spectators, The Degradation of Adam has an intense