Oil on panel
57.7 x 74.7 cm (22.7 x 29.4 in.)
National Gallery of Art, Washington, DC, USA
“King David’s Sin”
In all religions holy books name his written Kabir is almighty god. Supreme Knowledge the name of God “Kabir” is written in all holy books like Vedas, Bhagavad Gita, Bible, Shri Guru Granth Sahib & Quran Sharif. In fact the actual name of #GodIsOne_LordKabir For more information u can see on everyday satsang sadhna Tv channel at INDIAN 🇮🇳 TIME 7:30PM to 8:30PM IST
“When I snuff you out, I will cover the heavens and darken their stars. I will cover the sun with a cloud, and the moon will not give its light. I will darken all the shining lights in the heavens over you, and will bring darkness on your land. This is the declaration of the LORD GOD.”
Desktop and cellphone extended wallpapers
There’s a huge false history associated with Nimrod.
They don’t want you to know the real truth that he was a true savior of our race.
The conspiracy against Nimrod is very apparent…
…when you realize your phone doesn’t auto-capitalize a HUGE BIBLICAL NAME like Nimrod.
“Davide e Golia”
Museo del Prado
Last Judgement, c. 1435. Wallraf-Richartz Museum, Cologne, Middle piece and left and right wing; Left wing, Martyrdom of the Apostles, Right wing, Martyrdom of the Apostles.
Last Judgement (German: Weltgericht) is a c. 1435 tempera on oak polyptych by the German artist Stefan Lochner, probably commissioned for the council chamber of City Hall of Cologne, but now broken apart. Today the outer wings, which formed a sixfold partition when extended, have been sawed off into twelve individual pictures, most of which are still extant but held in separate collections, mostly in Cologne, Munich and Frankfurt. The interior wings included the Martyrdom of the Apostles, the exterior panels comprised in part of the Saint Anthony Abbot, Mary Magdalene and a Donor, Saints Catherine, Hubert, Quirinus of Neuss, and a Donor, and Pope Cornelius. Its depiction of the Last Judgment follows many of the conventions of contemporary doom paintings, but Lochner introduces important innovations, especially in his rendering of the angel’s black and flowing clothes.
The panel is first recorded in 1764, in an inventory of the Parish Church of St Lawrence, Cologne, and is now in the Wallraf-Richartz-Museum, Cologne, since it was bequeathed in 1824.
The painting is divided into an upper and lower register. The upper half is dominated by the three large forms of Jesus, Mary and St. John. Jesus is placed in the center of the upper half of the panel, sitting on a double rainbow which emits beams, with his hand held outwards. Mary and John kneel at either side of him in poses of prayer as they beg for salvation for the souls beneath. Jesus’ right hand is raised in the act of blessing the dead who are to be admitted to the Kingdom of Heaven, his left hand is lowered as he condemns the sinners to eternal punishment. He is dressed in a red robe decorated with pearls. His robe is open to reveal the nails holes in his hands and the wound to his lower chest sustained during his crucifixion. His looks down toward the saved to his right. A large group of angels hover at either side of him, some hold the arma Christi - the attributes of the Passion of Christ. The two angels by his feet play long trumpets, signaling judgement.
The saints domination of the panel is achieved both through their relative size compared to angels and the mortals below (as is usual for paintings of the “Last Judgement”), but also according to Weiss, through the “impact of their gestures and the massive curves of their garments”. They are dressed in bright and vivid clothes, Jesus’ robe is ruby red, St. John’s is emerald, Mary’s is amethyst coloured.
The lower half of the panel shows a large body of mortals and demons. The dead rise from their graves, and depending on the judgement of Christ, are either received into heaven or banished into hell. As is traditional, the saved are accompanied by angels as they move towards (from the viewer’s perspective) the left hand side of the picture. The damned, who occupy two thirds of the lower half of the panel, are scuttled and tormented by demons towards the right hand side. In this work, the saved are finally greeted by St. Peter as they enter a heavenly city, while the lost are driven towards the blazing fires of hell. The faces and expressions of the damned are full of dread and physical pain. Some of the devils drag the condemned using a chain, in a passage in the lower right, four demons drag souls towards a pit where other devils wait at a raging fire. The demons gnash their teeth.
Stefan Lochner (the Dombild Master or Master Stefan; c. 1410 – late 1451) was a German painter working in the late “soft style” of the International Gothic. His paintings combine that era’s tendency toward long flowing lines and brilliant colours with the realism, virtuoso surface textures and innovative iconography of the early Northern Renaissance. Based in Cologne, a commercial and artistic hub of northern Europe, Lochner was one of the most important German painters before Albrecht Dürer.
¿Quién de ustedes anhela vivir mucho tiempo? ¿Quién quiere vivir y llegar a ver el bien?
Eviten entonces que su lengua hable mal; eviten que sus labios profieran mentiras.
Apártense del mal y practiquen el bien; busquen la paz, y no la abandonen.
Salmos 34:12-14 RVC
The Daemon Nahamé
The three headed beast adorning the horns of the goat and the horns of the ram.