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Deus irae, meaning God of Wrath in Latin, is a play on Dies Irae, meaning Day of Wrath or Judgment Day. This novel was based on Dick's short stories " The Great C " and " Planet for Transients ". Origins
Romans 12:19 – Beloved, never avenge yourselves, but leave it to the wrath of God, for it is written, "Vengeance is mine, I will repay, says the Lord." Ephesians 5:6 – Let no one deceive you with empty words, for because of these things the wrath of God comes upon the sons of disobedience.
Centre panel from Memling's triptych Last Judgment (c. 1467–1471) " Dies irae" (Ecclesiastical Latin: [ˈdi.es ˈi.re]; "the Day of Wrath") is a Latin sequence attributed to either Thomas of Celano of the Franciscans (1200–1265) [1] or to Latino Malabranca Orsini (d. 1294), lector at the Dominican studium at Santa Sabina, the forerunner of the Pontifical University of Saint Thomas Aquinas ...
Eclipso is a powerful magical entity often portrayed as a primordial manifestation of divine wrath, believed to be linked to the wrath of God. Comparable to the Spectre, Eclipso is considered an Angel of Vengeance. Following his removal from his original position, the character is sometimes associated with the Lords of Chaos as their agent. In ...
The reader may be confused as to why a book called The Suffering of God takes over one hundred pages to actually discuss any pain endured by the deity, but Fretheim is not rushed into embracing a position before laying the biblical and philosophical groundwork necessary to support that position. Indeed, laying the foundation is the difficult part.
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Mahakala statue, holding a flaying knife (kartika) and skullcup (kapala). In Buddhism, wrathful deities or fierce deities are the fierce, wrathful or forceful (Tibetan: trowo, Sanskrit: krodha) forms (or "aspects", "manifestations") of enlightened Buddhas, Bodhisattvas or Devas (divine beings); normally the same figure has other, peaceful, aspects as well.
God the Father turning the press and the Lamb of God at the chalice. Prayer book of 1515–1520. The image was first used c. 1108 as a typological prefiguration of the crucifixion of Jesus and appears as a paired subordinate image for a Crucifixion, in a painted ceiling in the "small monastery" ("Klein-Comburg", as opposed to the main one) at Comburg.