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The Rider on the White Horse (German: Der Schimmelreiter) is a novella by German writer Theodor Storm. It is his last complete work, first published in 1888, the year of his death. The novella is Storm's best remembered and most widely read work, and considered by many to be his masterpiece.
Red, for example, often represents Communism, the white horse and rider with a crown representing Catholicism, Black has been used as a symbol of Capitalism, while Green represents the rise of Islam. Pastor Irvin Baxter Jr. of Endtime Ministries espoused such a belief. [79] Some equate the Four Horsemen with the angels of the four winds. [80]
A Mindanaoan Muslim Buraq [1] sculpture. The sculpture incorporates the indigenous okir motif.. The Buraq (Arabic: الْبُرَاق / æ l ˈ b ʊ r ɑː k / "lightning") is a supernatural equine-esque creature in Islamic tradition that served as the mount of the Islamic prophet Muhammad during his Isra and Mi'raj journey from Mecca to Jerusalem and up through the heavens and back by night. [2]
The 3,000-year-old Uffington White Horse hill figure in England.. White horses have a special significance in the mythologies of cultures around the world. They are often associated with the sun chariot, [1] with warrior-heroes, with fertility (in both mare and stallion manifestations), or with an end-of-time saviour, but other interpretations exist as well.
The Rider of the White Horse (1959); set during the 17th-century English Civil War, about Parliamentarian general Sir Thomas Fairfax and his wife Anne who travelled on campaign with him; Sword at Sunset (1963); set in sub-Roman Britain, a story of King Arthur as the Romano-Celtic warrior prince he may have been; part of The Eagle of the Ninth ...
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[Duldul was the] name of the white mule of the Prophet, which had been given to him by the Muḳawḳis [q.v.], at the same time as the ass called Yaʿfūr/ʿUfayr. After serving as his mount during his campaigns, she survived him and died at Yanbuʿ so old and toothless that in order to feed her the barley had to be put into her mouth.
The film is the second of the three German film adaptations of The Rider on the White Horse by Theodor Storm. [2] Weidenmann’s version is noted for its emphasis on issues of the time and its use of comparatively more fantasy features. [2]