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B'. (6:1–28) – Daniel in the lions' den; A'. (7:1–28) – A vision of four world kingdoms replaced by a fifth; The story of Daniel in the lions' den in chapter 6 is paired with the story of Shadrach, Meshach, and Abednego and the "fiery furnace" in Daniel 3. The parallels include the jealousy of non-Jews, an imperial edict requiring Jews ...
Daniel in the Lions' Den Year c. 1614-1616 Medium oil paint, canvas Dimensions 224.2 cm (88.3 in) × 330.5 cm (130.1 in) Location National Gallery of Art Identifiers RKDimages ID: 28802 [edit on Wikidata] Daniel in the Lions' Den is a painting from around 1615 by the Flemish artist Peter Paul Rubens that is displayed in the National Gallery of Art in Washington, D.C. The painting depicts ...
Daniel (Arabic: دانيال, Dānyāl) is not mentioned by name in the Qur'an, but there are accounts of his prophet-hood in later Muslim literature, which tells how he was rescued from lions with the aid of the prophet Jeremiah (in Bel and the Dragon it is the prophet Habakkuk who plays this role) and interpreted the king's dream of a statue ...
Daniel 6 ("Daniel in the Lions' Den") is based on the classic Babylonian folk-tale Ludlul Bel Nemeqi, telling of a courtier who suffers disgrace at the hands of evil enemies but is eventually restored due to the intervention of a kindly god (in the story in Daniel, this is the God of Israel); in the Babylonian original, the "pit of lions" is a ...
English: Daniel in the Lions' Den, by Briton Rivière. This version started out as a digital image that had the saturation increased digitally. Comparing to the version on the museum's website, the image was desaturated and cooled, to be closer to Briton's original.
Daniel 3 forms part of a chiasmus (a poetic structure in which the main point or message of a passage is placed in the centre and framed by further repetitions on either side) within Daniel 2–7, paired with Daniel 6, the story of Daniel in the lions' den: [9] A. (2:4b-49) – A dream of four kingdoms replaced by a fifth
English: Daniel in the Lions Den, from 1896 Salon catalog. The original painting has been lost, although the painter Henry Ossawa Tanner painted a nearly identical variation. The catalog print is useful to compare that variation to what the engraver saw when he looked at Tanner's painting in the Salon.
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