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The triptych depicts the Last Judgment during the second coming of Jesus Christ, the central panel showing Jesus sitting in judgment on the world, while St Michael the Archangel is weighing souls and driving the damned towards Hell (the sinner in St. Michael's right-hand scale pan is a donor portrait of Tommaso Portinari); the left hand panel ...
Cennet and Cehennem (English: heaven and hell) are the names of two large sinkholes in the Taurus Mountains, in Mersin Province, Turkey. The sinkholes are among the tourist attractions of the province.
This is the moment in Christian eschatology when Christ judges souls to send them to either Heaven or Hell. [ 1 ] "Doom painting" typically refers to large-scale depictions of the Last Judgement on the western wall of churches, visible to congregants as they left, rather than to representations in other locations or media.
Heaven: The saved are entering Heaven, with Jesus and the saints, at the gate of Heaven an Angel prevents a demon from ensnaring a woman. Saint Peter is shown as the gatekeeper. Judgment: Christ is shown in glory while angels awake the dead; Hell: demons torment sinners according to their sins.
Where traditional compositions generally contrast an ordered, harmonious heavenly world above with the tumultuous events taking place in the earthly zone below, in Michelangelo's conception the arrangement and posing of the figures across the entire painting give an impression of agitation and excitement, [4] and even in the upper parts there is "a profound disturbance, tension and commotion ...
His depictions of sinful humanity and his conceptions of Heaven and Hell are now seen as consistent with those of late medieval didactic literature and sermons. Most writers attach a more profound significance to his paintings than had previously been supposed, and attempt to interpret them in terms of a late medieval morality.
In The Marriage of Heaven and Hell, William Blake is read by certain scholars as implying that hell is similar to heaven, or even preferable to it in terms of being a state in which creative impulses are allowed free rein outside the domination of society, which prefers the limitations of heaven. [103] [104]
The doors to hell are either in the third [125] or fifth heaven, [126] [104] or (although only implicitly) in a heaven close God's throne, [125] or directly after entering heaven, [127] whereupon Muhammad requests a glaze at hell.