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In Christian theology, the Harrowing of Hell (Latin: Descensus Christi ad Inferos, "the descent of Christ into Hell" or Hades) [a] is the period of time between the Crucifixion of Jesus and his resurrection. In triumphant descent, Christ brought salvation to the souls held captive there since the beginning of the world. [1]
Rosso Fiorentino. Descent from the Cross. 1521.Oil on wood. 375 × 196 cm. Pinacoteca Comunale di Volterra, Italy.. The Descent from the Cross (Greek: Ἀποκαθήλωσις, Apokathelosis), or Deposition of Christ, is the scene, as depicted in art, from the Gospels' accounts of Joseph of Arimathea and Nicodemus taking Christ down from the cross after his crucifixion (John 19, John 19:38–42).
This net gathers of every kind of fishes, because the wise and the foolish, the free and the slave, the rich and the poor, the strong and the weak, are called to forgiveness of sin; it is then fully filled when in the end of all things the sum of the human race is completed; as it follows, Which, when it was filled, they drew out, and sitting ...
The Taking of Christ (Italian: Presa di Cristo nell'orto or Cattura di Cristo) is a painting, of the arrest of Jesus, by the Italian Baroque master Michelangelo Merisi da Caravaggio. Originally commissioned by the Roman nobleman Ciriaco Mattei in 1602, it is housed in the National Gallery of Ireland , Dublin .
The depiction sequence at the 10th-century Hosios Loukas monastery in Greece shows Christ wearing a new tunic, with gold lines, after he has broken through the gates of Hell. Christ then he pulls Adam, followed by Eve from his tomb, signifying the salvation of humanity after the resurrection. [17]
A detail from Hieronymus Bosch's depiction of Hell (16th century). In Christian theology, Hell is the place or state into which, by God's definitive judgment, unrepentant sinners pass in the general judgment, or, as some Christians believe, immediately after death (particular judgment).
In this image the figure of Christ was typical of the Byzantine forerunners of the Man of Sorrows, at half length, with crossed hands and head slumped sideways to the viewer's left. The various versions of the Man of Sorrows image all show a Christ with the wounds of the Crucifixion, including the spear-wound. Especially in Germany, Christ's ...
When hung in Venice in 2011, the order of the panels was Fall of the Damned into Hell, Hell, space, Terrestrial Paradise, and Ascent of the Blessed.The Terrestrial Paradise was placed on the left because it resembles other Eden panels by Bosch, especially with its landscape, fountain, and following biblical convention. [3]